#eyes open was released in 2012 but it sounds more speak now and safe and sound leans more toward red both vocally and sonically

[kingofmyborrowedheart]

eyes open has speak now vibes with the instrumental …. I just want Taylor to have a pop-rock album and have a punk rock festival vibe tour

I think what Amos said about Speak Now being her rock album is so accurate. I think it would be so cool if the reputation vault had some rockier stuff to it since I have no idea how inclined she is to make a pop-rock/punk album.

[anti-hero-of-hawkins]

thoughts on the new taylor swift tracks!! sorry it is a long post

eyes open (tv) - FAVEEEE. tbh i liked this song more than safe and sound (whoops ig). love the taylor's version. def thought the hunger games songs would be on speak now (tv) bc they came out before the red album (hunger games came out in mar 2012) but tbh they do seem more "red" era- like anyway.

safe and sound (tv) - love the increased production quality. taylor swift is the only one who could have reunited the civil wars tbh. this plus eyes open is definitely helping fuel my resurfaced hunger games obsession. safe and sound traipsed through the forest so that folklore and evermore could be grammy nominated/winning albums.

if this was a movie (tv) - can hear the "come back to me like" vs that eli thing ppl talk about!! enunciation def improved there. anyway kind of confused as to why it is being associated with fearless (tv)? did she really want it on fearless (og) but it took a lot of pushing to finally make it onto speak now deluxe (og)? i've already seen that either she put it with fearless era bc she wants to keep speak now 100% self written. this one has a co-writer. second idea that i saw on twitter is that she is not ready to release a speak now (tv) album cover, which does make sense. but she did two pseudo covers for the 1989 (tv) songs so idk. anyway it wasn't my fave track originally but it still is a banger. love the reference to it in exile!

all of the girls you loved before - only heard snippets from the leak on tiktok (tiktok swifties are so frequently impatient and it frustrates me!!) and it legit sounded like she was underwater. but i was holding out hope that i would hear the true track as she intended us to hear it! the song is great. love the production/lyrics/mixing. would have been in the top 5 for me if it was on the lover album. the bathroom lyric def calls back to red yet again (like how daylight also connects to red). the lyrics also do have a lot of parallels with cornelia street and cruel summer which i enjoy.

[squishneedsahero]

Jordskjelv

The Earth Shaker

Part 1 of ?

Word Count: 1885

Loki x Reader

Just a 2012 style avengers fanfic that is Loki x Reader. Sometime you just need cute fluff that is absolutely nothing more than self indulgence.

It had been a normal day, you going to work at the little cafe, serving people coffee and sandwiches, just living your normal life. Then things had shown up on the news, an attack in New York City. Aliens coming down from the sky and wreaking havoc on the city, and then you saw him and your heart stopped. The customers were all distracted so you called out on your break then and there, pulling out your phone and looking up the fight in NYC, you kept looking for any glimpse of the man with a red cape flying around with a hammer in hand.

"Thor," it comes out as a breathless whisper.

You don't care that you're in the middle of a shift, you shout to your coworkers that you have to leave and walk out the door. You needed to get to NYC, you needed to find Thor, you couldn't get there fast enough. Surely the fight would have ended by the time you even make it to the outside of the city, but hopefully you could make it on time to find Thor. Thor was the only chance you had for getting your old life back and you had missed him the last time he'd been anywhere close by.

As you get in your car and take off driving at a reckless pace you let your mind fill with memories. You'd grown up with Thor in Asgard, your name was actually Faylwyn even if here in Midgard you went by y/n. You'd run and played and trained alongside him and Sif and the Warriors Three. Then once you were a bit older you had gotten in trouble, gotten on Odin's bad side, and he had banished you to Midgard. Thor had to have not known that you were alive, else he would have come looking for you.

But it isn't Thor you care about here. You glance at the bracelet around your wrist, beads strung on a strand of black hair, intertwined with a strand of your own hair. It was all you had left of your life on Asgard, you'd been friends with Thor sure, but he was just Loki's dumb older brother. You and Loki had been inseparable, hell you'd even given each other love locks, thats what this bracelet was, you'd had to cut it out of your hair, but you couldn't just give it up. You'd put some beads on it to hide what it truly was but it was your most prized possession.

The lovelocks had been hidden, hidden under layers of your hair so that no one knew besides the two of you. You and Loki had had wonderful plans, plans to run away together, to explore the universe together, to get married once you were old enough and to spend the eons with one another. No one had known this, no one but the two of you, Odin was unlikely to allow it, Frigga had to listen to her husband, and Thor had a big mouth. No one had known the full extent of the love both of you shared for the other, but now you had a chance, a chance to find him again after 700 years of being in Midgard alone.

You had never stopped loving him in all that time, you had longed to be by his side once again, you could only imagine the pain he had felt with whatever story Odin had decided to tell of your disappearance. Now you had that chance to find him again and you weren't going to miss it for the second time. Your one and only fear was that, he might not love you anymore, after all this time that he had moved on while you hadn't.

You drive all day, the fight is long over when you reach the city, it's the middle of the night and the streets are packed with people and rubble along with alien bodies. There wasn't anyway you could continue to drive, so you got out of your car, leaving it running in your hurry, you don't care you don't need it. You look up on your phone directions to the Stark Tower, it was your best chance of finding Thor, and you begin running. You aren't fast like Captain America but you have stamina, able to run for hours and hours, going for miles and days on end.

No, you weren't Asgardian royalty, but here at least much like Thor was considered the god of thunder in ancient mythology, you were considered the goddess of earth. No, not like Earth the planet, but earth, the dirt, minerals, the ground beneath your very feet. Thor was able to fly, like the lightning and thunder, rushing through the air. You were able to run, moving with ease, being one with the ground beneath you, never faltering calm and steady.

You round a corner and the tower becomes visible, tall and graceful, pointing into the sky with lights illuminating its massive form. It's when you get close that you notice the many agents and people swarming the scene, there was no way you'd be able to get inside unnoticed. And none of these people knew who you were so they'd never let you in, you sigh, time to do something stupid, or at the very least a plan which Thor could have come up with. You slowed your pace, finding your way into an alley, then to a side door. "Here goes nothing," you say softly to yourself as you pry the locked door open and step inside.

Instantly alarms begin wailing and SHIELD agents begin to swarm towards your position. That was fine, you didn't want to hurt any of them but causing a scene would get the attention you needed. You needed to pose yourself as a big enough threat to need the attention of the heroes who had fought the aliens, any less and they'd ignore you, thinking you're some crazy from off the street. The agents surround you and you don't make a move, letting them go first. You don't want to hurt them, so you need to judge their skill first, you'd been fighting for nearly a thousand years, you'd easily be able to take them down.

The first to approach you with their gun, telling you to surrender since you weren't supposed to be here, you punch in the nose and knock them out. Seeing the ease with which you did that, leads to them calling for backup. Perfect. From there you focus, feeling a heavy sensation in your stomach as you do, slowly the ground opens up enough to sink their feet in and trap them, and one small, earthquake later their guns are on the floor.

You approach the one who had called for backup, and look them over briefly before speaking. "I need to talk to Thor, can you make that happen?"

They seem confused with your sudden loss of aggression, but nod, placing a finger to their ear as they reached out through their coms, "Director Fury, the infiltrator on the ground level wishes to speak with Thor. They have disarmed us and and have us all trapped my our feet in the floor but they do not seem to pose a threat as long as they see Thor."

You nod once and confirm, "I just wish to speak with him, I'm an old friend." With that you step back and place the door back in place, as you step outside once again, "I'll be in the park. Tell him I'm waiting."

With that you leave, and close the door behind you. Only releasing the agents from the ground once you've made it safely away. It was short and fortunately went better than planned. Now all you had to do was wait, and wait you did. It did not matter to you that it took hours for anything to happen. It didn't mater that you'd slept in the grass that night, and that the sun was rising when someone approached you. You had a chance to see your Loki again and that was all you needed to be happy.

You're awoken by someone speaking softly, "sir, I have eyes on the target." It's a woman's voice, you don't move, and continue to lay there, eyes closed.

It's when you hear the slightest sound of the grass moving that you finally do so as well, sitting up and moving to face her. It's the redheaded woman who was fighting alongside Thor the day previous. You offer a slight smile and a, "hello."

When you move Natasha removers her hand from the earpiece she was wearing, and asks, "you're the one that broke in last night asking for Thor?" It's posed as a question but you feel it's more of a statement.

"That is me, I'd just like to speak with him, I'm an old friend. My name is y/n l/n, at least that is the one you will find me under in all government records. Look me up, I don't care, just let me see Thor before he returns to Asgard," you come to a standing position and hold out your hand, "tell him Faylwyn wishes to see him, he'll know what you mean." With that you turn to walk away.

"Sorry, no can do, you're coming with me, you broke into a secure facility and took out multiple agents. You don't get to walk off right like that," she says and reaches for her hip.

You turn back to face her as she speaks, glancing at her hand before meeting her eyes again, "I'm willing to come peacefully. You don't have to tase me," you hold out your empty hands to her, "see, you can even handcuff me, just so I can speak with Thor."

Natasha looks at you, you're being genuine on this one thing, though she still doesn't trust you. She had seen the door you'd pried open, the imprints of your fingers in the metal around the latch, there was no way handcuffs would hold you if you wanted to leave. "No need, come on," she nods her head towards the tower and keeps her hand on the taser as she leads the way. You were a threat if you wanted to be, and obviously you were smart. You hadn't caused more damage that a broken door and a broken nose, and from what she had heard and seen on the cameras you could have done a lot more had you wished to do so.

You follow Natasha to the tower and in the doors, around some corners up an elevator and through the hallways to a more private and secure room.

"Wait here," she says as she opens the door for you, letting you in before closing it behind you. Once again, you wait. This is still your best chance, you had no other way to contact Thor, thanks to Odin's being pissed at you even after 700 years. The All-Father could All-ways hold a grudge.

Eventually the door handle jiggles before opening, and you look up, meeting the eyes of the tall blond, the Asgardian armor covering his body and the red cape over his shoulders. He looks at you in shock and says, "Faylwyn?"

[joontier]

mile high memoirs | oneshot

synopsis: you and the two other rappers of the global sensation BTS make a collaboration of sorts 

pairings: namgi (namjoon and yoongi) x reader

rating: R (18+)

genre: fluff, humor, smut | au: idol! au; established relationship! au

warnings: pwp basically hnngnhng; and yes sex on a private jet bc why tf not ; cunnilingus, oral sex (m and f receiving), cum swallowing, dom! Yoongi undertones, threesome, double penetration, anal sex, multiple orgasms; i have nothing else to say at this point except im dragging yall with me to thirst hours

word count: 5.9k

g/n: NAMGI NATION RISE!!!!!! anywho, this is a lovely gift for @mintseesaw​ for being an awesomesauce person in general and yes, we’re thirsting for the same men bUT SHE WONT SHARE HNGNNNG SO I’VE WRITTEN THIS INSTEAD (in the hopes that this might satiate my obviously unquenchable thirst for the hyung line!?/1!?!?) ALSO THIS IS HEAVILY UNEDITED KJFSKDJFSDJF please let me know what you think! x

between the lenses navi. |  navi. | m.list

“_________! Please look this way!”

“How do you feel about New Day becoming the number one streamed song in more than forty countries after being released just last week?”

“Is it true that you’re in a relationship with BTS’ Suga? Or RM? Or are the three of you engaged in a polyamorous relationship?”

The last one catches you off guard and you look away from the cameras to hide the amusement on your face. The last thing you need is people speculating about your personal life once they see your reaction to their questions, so you continue on your way to immigration, face down and expressionless.

If you were being completely honest, there was always a crowd that came with you when you had schedules overseas, fans and paparazzi huddled together as they took pictures of you. But today was different, especially considering the fact that you were also at Gimpo, and not Incheon.

With Gimpo, a significantly less busier airport than Incheon, you had only anticipated a smaller crowd but you seemed to have forgotten that you were scheduled to fly with two of the rappers of BTS to Amsterdam today to film the music video for your collaboration, “New Day”.

Upon your arrival, a throng of security guards placed themselves as barricades to bar the large group of people from crowding the hallways. Your team successfully weaves your way through the massive crowd and arrives safely by the immigration.

You soon see your boyfriend lounging by the private boarding area, and Yoongi immediately stands to greet you. You place a quick peck on his lips when you meet. Namjoon stands to greet you as well and you turn to the younger man to give him a huge hug. “It’s been a while since I saw you Joonie!” The tall rapper gets shy at your nickname, dimples peeking as he looks down.

“It must have been wild out there,” Yoongi says, giving you a once over as he checks if you got hurt or injured on the way to the boarding area. You coo at your boyfriend, face crumpling at his concern even after years of being in a relationship. Nuzzling your head onto the crook of his neck, you inhale the wonderful scent of the perfume you’d gave him when you came back from your US tour.

“Yeah it was! Honestly whenever I leave Korea, the amount of people who’d send me off isn’t even half of the crowd out there – and that’s already in Incheon! Not Gimpo! I always seem to forget that you guys are worldwide superstars!” Yoongi just laughs at your observation, shaking his head at you as he offers his iced Americano. 

Unbeknownst to those outside your private lives, you had initially met Yoongi pre-debut. You used to attend the same school back in Daegu and fun fact: you were the same ex-girlfriend he’d composed a letter for during high school and sent the same to a radio station to have it aired.

You had both met at a tender age, and admittedly, there were a few petty reasons for your break-up, but one of them was because you both wanted to pursue a career in music, and with the kpop industry not exactly big on the idols dating, you had decided to remain friends, for the time being.

It was Yoongi who contacted you first when you debuted in late 2012, and as you caught on with your lives, sharing similar stories during your trainee days, he’d also asked you to anticipate their debut in a few months’ time as well.

True to his word, their group debuted the following year in June, and you had sent congratulatory flowers to BigHit, praising them for their powerful stages and a very promising career. You and Yoongi had kept in touch ever since. Nothing wrong about rekindling an old flame, right?

Funny enough, dating under the radar seemed to have fallen naturally for the two of you as you both prefer staying indoors and improvising dates rather than having to go out and risk getting caught by the media. Besides, it would have been easier just in case things got a little bit heated. Which happened most of the time. In your defense though, being able to meet at least once a week was already a blessing – so occurrences like that were bound to happen…

One day while you were trying to work out this melody for a song you composed, Yoongi sat next to you and pulled you on his lap as he rested his chin on your shoulder. “Why don’t I help you with that love?” He lets you rest your back on his chest as his fingers fluidly move against the piano keys. Genuinely satisfied with what he played for you, you placed a kiss on his cheek as a token of your gratitude. “Thanks, Suga PDnim.”

“Speaking of that… do you want to have a collab – you and me?” You look at him, expectantly, mouth slightly open at surprise of his proposal. Truthfully, you had thought about that even before you actually got back in to a relationship, but you could never really bring the subject up because he always seemed so busy and you didn’t want to burden him any further by asking for extra work.

And that’s what you told him, but your boyfriend only laughed at you, intertwining his hands with yours on the piano. “Baby, I would’ve dropped all the other collaborations if you had just said the word.”

You were beyond elated, and honored, and when Namjoon came in to check on Yoongi, the latter asked if he had any opinion on a collaboration between Yoongi and you. Your boyfriend even convinced the younger rapper to get involved in the track. With the blessing of Bang PDnim, you’re finally here, scheduled to travel overseas to film the music video for the track the three of you had worked on which went global in mere hours, thanks to the very talented men you got the chance to work with.

You take out your camera from your bag to film a little, just in case you’ll get to release a ‘behind-the-scenes’ vlog for your collaboration. You make an attempt to film Yoongi who’s half-awake but all to no avail. Namjoon gladly offers some screen time for your video. The younger rapper laughs shyly when you squeal in excitement asking him for a few words about your collaboration. Namjoon does so like a professional: telling the camera where you’re headed off to today, thanking the fans for their never-ending support, and wishing them to anticipate the upcoming music video. 

It doesn’t take long before someone tells the lot that your plane is ready to board, so you wake a dazed Yoongi and bid goodbye to the rest of the staff who were taking a separate flight to your destination. 

Ever the hardworking idol, Yoongi decides to make some revisions on a song he’s working on while you take this time to finally finish a book Namjoon himself recommended a while back. You don’t notice the hours that have passed by when you check the window, and it’s already pitch-black outside, save the occasional gray because of the clouds.

Unbuckling your seatbelt, you head over to the lavatory to relieve your bladder. On your way back to your seat, you glance Namjoon’s way and see the flesh-colored screen your eyes getting glued to the screen watching two men pound a girl into the mattress. You get drawn back to reality because of some minor turbulence and you quickly avert your eyes from the screen.

“Babe, Joonie’s watching porn,” you whisper as you get to your seat, snuggling into your warm blanket. “And who told my girlfriend it was right to snoop into other people’s preferential pastimes?”  

You roll your eyes at him, “It’s not like I purposely watched what was on his screen! Just in case you needed the facts, he was seated with his back facing me, so it’s just natural that I’d get a glimpse of whatever ‘preferential pastime’ it is that you he was doing on his phone! It’s not my fault he didn’t dim the brightness if he truly wanted to watch it privately- “

“You didn’t need to go off, babe,” Yoongi laughs, placing a kiss on your head. “Should we head to bed now? I wanna sleep…and cuddle. Sleep, really, but since you’re here, I guess we could cuddle.”

“You make it sound like it’s a chore!”

Yoongi gives your indignance no attention, just tugging you up from your seat towards the bedroom. “Joon, we’re going to go to sleep now. You should go do the same soon.”

Namjoon’s lips part to reply, but Yoongi beats him to it. “And don’t even think about attempting to sleep in that seat. There are two beds back there for a reason. _______ and I will just share one. Feel free to take the other.” A small smile graces the younger man’s face in gratitude, nodding his head as he wishes you both a good night’s sleep.

Of course, life is bittersweet – so even with an insanely comfy bed and your boyfriend beside you to snuggle freely – a good night’s sleep is the last thing you get. Restlessly turning to lie on your back for what seems to be the hundredth time tonight, you heave a sigh as you stare at the jet’s ceiling. Must’ve been the iced Americano you shared with Yoongi before you boarded. Damn him and his triple-shot Americano.

Namjoon enters the room and notices your state of restlessness. “Can’t sleep?”

“Sort of.”

“There’s warm milk by the galley if you want some.”

“I’m too lazy to get up…”

Namjoon chortles, finding it’s moments like these that remind him of your likeness to Yoongi. “I can get you some if you want?” Namjoon offers, already turning to leave the room but you grab his arm, stopping him from doing so.

“No, please! You really don’t need to. I know I’ll be able to sleep in a few more minutes….”

“The average person falls asleep in twenty, and you and Yoongi hyung came here about an hour ago,” Namjoon points out. Giving him a blank stare, you reply, “Why don’t you head to bed and rest? We’ve still got a long day tomorrow.”

“Okay. Good night, noona.”

“Night Joonie.”

You have proven all of Google’s methods of falling asleep faster to be false. Warm milk, the 4-7-8 breathing method, relaxing music, even counting sheep in vain. You’d even tried working on your vlog to Amsterdam (that you probably aren’t even going to release), giving up when you couldn’t make out Yoongi’s slurred speech when you tried to interview him while he was napping (you don’t know why you even bothered at this point, but you probably thought it was funny earlier this afternoon).

Nada. Nothing was working, not when you’ve still got three shots of espresso coursing through your veins.

There was only one way left and you had a feeling that this was going to definitely knock you out. You need to get exhausted, and the only idea left is sitting cross-legged at the back of your head, blowing a huge bubble with her gum as she files her nails. She looks at you with taunting eyes. You glance over to Namjoon’s bed, analyzing his features to see if he had gone to sleep already or not. A light snore that escapes his lips assures you so.

Letting out another exhale, you turn to face Yoongi on your left, studying his features. Your boyfriend wakes when your lips graze his cheek as you place a light kiss on his milky skin. One eye pries open to peer at you. “Babe, what are you doing?” His groggy voice shouldn’t have appealed to you as strongly as it did now, but your desperation to get some sleep had seemed to travel south.

“Just kissing my beautiful boyfriend,” you shrug innocently, fighting the teasing lilt in your voice when you see the corner of his lips rise at your sudden compliment. “You don’t fool me, Miss _____, Billboard’s Top Female Solo Artist of the Year, MAMA’s Best Rap Performance, Golden Disc Awards’ Best…”

“Okay, okay, you got me.” You giggle as Yoongi pulls you closer to meet your lips in a chaste kiss. “What’s wrong princess?” You state the obvious, pointing to your eyes which now probably had bags under them. “Can’t sleep,” you pout, slipping your hand underneath his shirt to give him a back rub as you snuggle to his chest.

“And what do you suppose we are to do about it?” Yoongi asks, chest rumbling as he speaks. You take your bottom lip between your teeth as you look up at him expectantly, giving him a knowing look.

Yoongi looks at you incredulously, the lack of rest still visible in his features. You instantly look away, guilt spreading across your chest. You internally scold yourself as you had to wake up your boyfriend for selfish reasons. Your boyfriend senses your sudden hesitance and places a finger under your chin, ordering you to look at him. “Hey, hey, look at me darling. Right here, right now? I’m gonna be honest with you, I don’t have the energy to-���

“Doesn’t matter, I’ll do all the work.”

“And Namjoon, who’s just a mere meter away?” His pitch lowers, voice now barely above a whisper. You nod shyly and Yoongi’s eyes darken at your unspoken offer.

“You’re a naughty little slut, aren’t you?” Yoongi hisses, placing his hands on your waist and lifting you easily to have your sit on his thighs, just below his crotch. “Wanting to fuck on a plane, while another member is sleeping right beside us?”

Placing your hands on Yoongi’s chest for support, you move your hips forward, grinding your crotch against your boyfriend’s. Yoongi pulls you forward by your arms, just enough that your face is merely centimeters away from him. Wasting no time, he presses his lips against yours, darting his tongue out to deepen the kiss. He expresses his desire to help you with your dilemma by thrusting upwards gently to join your gyrating hips.

You peek sideways to check on Namjoon and breathe a sigh of relief when he finally turns to the other side, back facing the both of you. 

You hastily discard your top and your bra in desperation, hands roaming all over your torso and eventually letting them end at your chest, fondling with your breasts and tweaking your nipples between your fingers. Not satisfied with your own ministrations, you guide Yoongi’s hands to your breasts, letting him squeeze them as he pleases beneath his open palms.

“God, you’re so fucking hot,” Yoongi murmurs, bending his knees to push himself upwards to make himself more comfortable. Yoongi quickly attaches his moist lips to one of your breasts, sucking at the supple flesh. You grind heavier against him in response and Yoongi takes this as an opportunity to fist a handful of your hair and tug sharply, baring your neck to him. 

You barely manage to hold in your whimpers when he sucks on a particularly sensitive spot on your neck, definitely leaving a purplish mark there that you’ll eventually have to cover up with foundation. Nothing you’ve never done before. “Remember that short dress you wore on stage last week with that dangerous cleavage?” You nod shakily, remembering the way Yoongi tried hard to not stare at you too long as one of his fansites might catch onto something. 

“Guess what baby? It’s payback time.” 

“For what?” You flutter your eyes innocently at him and you suddenly feel the temperature rise a few degrees with Yoongi’s intense stare. 

“You knew exactly what you were doing that night, naughty little tease.” Okay, maybe you did, and maybe you bit your lip in front of the camera at the exact moment you knew he was looking. Needless to say, he avoided your eyes for the rest of the evening during that particular awards show. 

He thrusts up harshly, his clothed hard-on grinding deliciously against your likewise covered cunt. “Mhmm, Yoongs… I- I wanna…” You don’t find the need to say anything else, just one look at the bulge inside his sweatpants was enough for him to understand.

“Yes please.” Yoongi sighs in contentment, raising his hips to help you remove his clothes. You include his boxers as you take his sweatpants off, cock slapping against his stomach as it springs free from the confines of his underwear.

Giggling excitedly, you hide beneath the covers, fitting yourself snugly between Yoongi’s legs. You take your time as you stare at his dick, long and girthy and curved just the right amount – always a tight fit inside your walls. You couldn’t wait for later when he’ll let you impale yourself on his cock as you ride him – the vivid picture makes you even wetter.

Building up his anticipation, you start placing kisses from his happy trail down to his groin, kneading his balls gently while you’re at it. Finding it difficult to communicate his feelings is one trait of Yoongi that definitely has its pros and cons. For one, people actually think Yoongi doesn’t care for others but it’s actually the complete opposite, but along with this, he gives the most genuine reactions, one which you are thankful for, especially during times like these.

Yoongi’s pretty responsive, and vocal at times when he’s really in the mood, and when you tentatively flick your tongue against his frenulum, the instantaneous quiver of Yoongi’s body has you reveling, giving yourself an imaginary pat on the back.

Momentarily leaving his red, angry shaft, you gently take his balls in your mouth, sucking on it, and gently massaging it with your tongue. “Quit the teasing, _______.” Being the good, obedient girl that you are, you comply immediately, paying attention to his dick this time.

You see his abdominals contract when you finally take him in your mouth, veiny hands grabbing at your temple to fist a handful of your hair. Inch by inch, you let his cock sink into your mouth, swallowing when he reaches the back of your throat. Yoongi hisses at the sensation, cursing to a throw pillow he’d taken from the seats.

Not wanting to agonize him any longer, you get to a pleasurable pace, bobbing your head up and down his length. Yoongi’s chest starts heaving and his grip on your hair tightens – the tell-tale signs of his impending orgasm. “Shit, baby…” Your boyfriend warns you that he’s about to cum, and you pull back a little, just to feel him release ropes of his cum inside your mouth.

Yoongi beckons you closer, weakly pulling at your arms to have you lie on his chest. He’s still panting when you get closer, “You, darling, are perfection personified.”

Slapping his chest lightly in jest, you reply, “You’re only saying that because I just gave you the best blowjob of your life.” Yoongi pulls his head back, facial features exaggeratedly contorted to fake being offended. “Okay first of all, you always do. And second, do you want me to get sappy and make a list what makes you the perfect woman ever?” He asks, letting two of his fingers dance on the bare skin of your belly, eventually leading southwards, “Or…I could just show you how much you mean to me by doing something else? Something you and I will both enjoy, hmm?”

Expressing your approval with a hum, Yoongi wastes no time, meeting your lips in a feverish kiss. Gasping at the sensation of his wet lips trailing all the way from your cheek, down to your jaw then your collarbones and onto the valley of your breasts, you squirm impatiently underneath your boyfriend.

“Patience, darling,” Yoongi chuckles, sending you a flirty wink as he gets down on you, teasingly pulling at the waistband of your shorts before removing them. His gaze darkens when he notices your underwear choice – a lacy red thong just for him. You’ve meant to have him remove it from you once you reach the hotel in Amsterdam, but doing it in a jet seems just as hot.

When he gets the thong off of you, he quickly pockets it inside his discarded sweatpants by the end of the bed. Getting back to his task at hand, you’re unable to control the gasp that escapes your lips when Yoongi brazenly flattens his tongue on your bare core.

Keeping your folds open with two fingers, he curls his tongue around your clit, thighs subconsciously squeezing his head in between because of the stimulation. With one hand, he keeps your legs spread open for him. Alternating between your clit and your entrance, Yoongi makes sure not a single region of your core is left out.

Wanting to put your limits to the test, your boyfriend tentatively slides a finger against your folds, the coldness of your couple ring on his digit making you quiver to the bone. He slowly slides a finger in, prepping your hole for what’s to come. You plead for one more, fully aware that your greedy little pussy isn’t contented with one. Yoongi complies with your request at once, pumping his digits inside of you and occasionally curling them inside. That familiar coil inside you tightens with every second, and with one particular curl of his digit and his mouth on your clit, you reach your high.

Your body trembles with the intensity of your orgasm, and Yoongi won’t stop just yet, still licking long stripes on your cunt. Your boyfriend stops abruptly and rises, resting all his weight on his arms as he crawls forward and lowers himself to whisper something in your ear. “He’s awake. You want me to do something about it?” 

Legs closing subconsciously while in thought, Yoongi gives you a few choices to ponder on. “We could pretend he’s not awake and get done with this, or…” Yoongi looks at you, carefully studying your facial reaction, “we could have another collaboration of some sort…” 

“It’s really up to you baby, I’m honestly okay with both.” 

You raise your eyebrows at his statement, never really taking Yoongi as the type to explore your deepest sexual fantasies. But then again, Yoongi has always been one to support you in everything, even with your kinks. Maybe the idea didn't surprise you as much as it should have considering the level of trust that came with living with someone for almost ten years already. 

Yoongi gently falls to your side for a moment as he lets you decide. “You know, Namjoon used to have a crush on you,” your boyfriend informs, twirling a loose strand of your hair around his finger. Now that was a surprise. “He did?” 

“Mhmm. At one point, he even had you as his phone wallpaper when you released your second single.” 

“Oh really?” 

“Yeah, I really don’t mind if you wanted to indulge him, you know, as an early birthday present? We actually had this kind of conversation a few years back and honestly, we’re both willing to try a threesome… what better way to do it with a person you trust right?” 

The bluntness of his words catches you off guard - several trains of thoughts scattered throughout your brain. Namjoon had a crush on you? Birthday present? Threesome? How did you even get in this situation in the first place? Yoongi shifts a little as you continue contemplating, then you take notice of Yoongi’s bare lower half, cock still stiff and upright. Shit! 

“You’re still hard,” you comment lamely, staring at his dick. “I know, and I’d greatly appreciate it if you tell me your decision quickly…” 

You look at him again, checking if there is the slightest hint of uncertainty in his eyes. When you see none, you ask him again, “You’re really sure you’re okay with that?” 

“Of course, as long as you’re comfortable with the idea. Honestly, I’m willing to have it any way because we still have a very pressing problem,” Yoongi points to his crotch, “and honestly, I think Namjoon is too. There’s nothing more that can turn a man on other than a woman’s moans,” he shrugs. 

You want to laugh at Yoongi being totally nonchalant about this whole situation, but if you’d listen to your gut feeling, you’re sensing it’s Yoongi’s outstanding self-control that has him so calm and collected about this proposal. 

Once you tell your boyfriend of your approval, he calls Namjoon at once. When the younger man won’t budge, you look at Yoongi who just shakes his head at you with a playful smirk on his face. He points at you then back to Namjoon, gesturing you to do the talking. 

You gulp before saying a short plea to the heavens above. Surely, they’re bound to hear you better since you’re already in the sky right? “Joonie, darling, it’s okay to look. We don’t mind.” You cringe at the tone of your voice, surprised at how convincing you sounded while you were having an inner turmoil. 

When you see Namjoon’s head raise a little, you subconsciously bite your lip in anticipation. Wanting nothing more than to see what he has to say about this. Yoongi probably senses his hesitation so he starts to speak, “It’s okay, she’s covered with a blanket.”

“But you’re not!” Yoongi juts his head forward, a grim look on his face. “As if you haven’t seen me naked before!” 

“That’s different! T-This is a completely different situation.” 

“Listen to me you kinky ass motherfucker, I just know you’re hard. I am too, and you know damn well it’s painful and uncomfortable. So, unless you want me to fuck her while you’re watching or pretending to be asleep, I suggest you take your clothes off and come here.” 

“Are you both sure you’re okay with this?” 

“Didn’t you just hear our conversation a while ago? I mean your bed is just a meter away.” 

“I know, I heard,” Namjoon says, hands already at the hem of his hoodie, then instantaneously looks at the older one dead in the eye, “But, hyung, did you really have to call me out like that?! The whole crush thing and the wallpaper - jeez!” 

Namjoon takes his phone out of his hoodie first, placing it by the window, then removing the rest of the clothes he has on quickly under your heated gaze.

“Try having a conversation while you’re hard,” Yoongi mutters, rolling his eyes. Yoongi scoots closer to you when Namjoon moves forward, standing with only his boxers left on. Your mouth waters at the outline of his straining bulge while Yoongi clicks his tongue against the roof of his mouth.

“Why don't you show your Joonie what that mouth can do?” 

The tall man makes a sound between a cough and a groan, and you lie on your stomach, crawling a little bit closer to come face to face with Namjoon’s crotch. You just know he’s longer than Yoongi judging from what you’re seeing, but Yoongi’s definitely girthier and fuck - the thought alone is enough for you to come undone, completely untouched. 

Namjoon shivers lightly when you trace a finger along the length of his boner, placing a light kiss atop his cloth boxers. Impatiently, you hook a finger on the waistband of his Versace boxers. Holy fuck - you send another prayer to their hard stans, wishing them an equally intense life inside the bedroom.

His cock springs free, and you scoot closer, wanting to have a better look at his pretty dick. You get into action quickly, hand wrapping around the base of his cock. You place a kiss on the leaking head, before licking a wet stripe along the length of his shaft. 

You get more confident when Namjoon inhales sharply at the simple action. A few more licks and you decide to finally take him in his mouth, gradually moving lower until you have at least a third of him in your mouth. Namjoon sighs, fingers carding through your hair as you pull your mouth off him with a pop. Once more, you sink down, shallow and easy as you tease the younger man. 

The grip on your hair eventually tightens, goading you on and encouraging you to go deeper. Namjoon becomes more vocal when you pick up the pace, and when you go down all the way to the hilt, you pause for a moment, then swallow. “Holy fuck!” Namjoon cries out, head lolling backwards in pleasure. “God, I wish I had a girlfriend too.” Yoongi chuckles from behind you and you almost forgot he was there too with Namjoon’s pretty length keeping you preoccupied. 

Yoongi praises you and calls you a good girl. Beaming at your boyfriend, he tells you to continue giving Namjoon the blow of his life. Under Yoongi’s compliments, you work harder, ignoring the slight burn in your jaw. Namjoon starts bucking his hips, desperately chasing his high in your mouth. As you feel that coil slowly forming in the pit of your stomach, you gather some of the blankets between your thighs, bunching them up against your cunt so you have something to shamelessly grind your folds with. 

Namjoon’s breathing gets strained, and you feel a tap on your leg, causing you to momentarily stop with Namjoon. Yoongi says nothing as he tells you to flip over. Settling your weight on your elbows, you watch Yoongi hand Namjoon a silver packet. “You really think you won’t get caught wetting the sheets babe? You’re not the only who gets to have fun here.” 

He peppers a few kisses on your things before placing a hand between, spreading your legs open. “What are you waiting for, princess? Wanna leave Namjoon hanging just like that?” Unsure of what he has in mind, Namjoon helps you guide his shaft back to your mouth. As Namjoon returns to a rhythmic pace inside your mouth, you feel Yoongi settling himself between your legs. Good lord, was this really about to happen? 

Your back arches when Yoongi starts with light vertical licks from the bottom to top. You feel his hand trail upwards, gently caressing your breasts. You’re mewling by the time Namjoon increases his pace, and Yoongi starts and toying with your clit mercilessly. 

The feeling gets too much when Yoongi sucks on your nether bud, then proceeds to tease your rim a little, using your essence to slowly ease a ringed finger inside your hole. Namjoon hisses with your every moan, the vibrations coming from your throat an added blessing to having fucked your mouth. 

From your view, you see Namjoon’s balls tighten and seconds later thick ropes of cum slide down your throat and you swallow before pulling back and licking your lips. Not wanting to be left out of the fun, Yoongi, once more, asserts his dominance, ordering you to get on your knees. 

You feel your heart hammering against your ribcage in exhilaration, secretly hoping that this will finally be the day your deepest fantasies will come to life. Yoongi scoots over a little to lie horizontally on the bed. He calls you over, index finger curved like a hook to beckon you to ride him.  

You move over to him in shaky legs, hooking a leg over his body to straddle his hips. “No, no, not facing me…” Yoongi waves his hand as he helps you up. “Facing him,” your boyfriend points to Namjoon whose mouth falls open in shock. Yoongi rips a packet open and rolls a condom onto his shaft.

“Hyung…” This was plain torture.

“I thought this was supposed to be an early birthday present for me?” Namjoon mumbles, scratching his neck with the small silver packaging between his fingers. “I know. But great things never came easy right?” Namjoon visibly deflates at the older rapper’s words. He had a point yes, but some points weren’t supposed to be applicable to all fields of life…

Not wanting to prolong your waiting any longer, you lower yourself onto Yoongi’s cock, inch by inch until he’s fully seated inside your warm, velvety walls. Your head falls back at the feeling of his cock inside you. Every time feels like the first.

Once you feel you’ve adjusted enough to Yoongi, you stabilize yourself on Yoongi’s thighs, sliding up until it’s only his head left inside before sliding back down. Your thighs get tired after a while, and Yoongi helps you by gripping your hips and thrusting upwards. As you move up and down and grind back and forth in circles, Yoongi calls Namjoon over just before you reach another climax.

“It’s about time you join the fun here, no? Joonie?” Yoongi playfully mocks the taller man, using your nickname for Namjoon to rile him up even further. You whine when Yoongi pulls out for a moment, closing your eyes as he places a quick kiss on your shoulder 

You hear the ripping of a packaging and as you open your eyes, you see Namjoon near you until his thighs are hitting the edge of the bed. You let out a wanton moan when you feel Yoongi prodding his cock against your other hole, shallowly dipping the head in then pulling out. He repeats the action until he deems you’re ready, the slowly lowers you down onto his length.

“Namjoon…” Yoongi says breathily, having difficulty with his self-control with your rim having a vice-like grip on his cock. The other man in front of you doesn’t need to be told twice, slapping his dick against your folds. The action sends lewd sounds resonating throughout the small room, which only sends a jolt of pleasure down your spine.

Namjoon rests one of his knees on the bed, lowering himself onto your cunt. “Noona, you’re so wet. Fuck… I could just…” Namjoon finally pushes himself inside, “easily slide right in…” he lets out a deep exhale once he’s balls deep inside you.

You’re not doing any better than any of the men, thinking you could just orgasm from the fullness alone. And much to your surprise, you do. And both men keep their hands on you as you tremble like a falling leaf in autumn. “Holy shit!” Namjoon explains, staring at you with his mouth open. Once you stop quivering, they both ask you if you were still okay, and you take a breather before answering them, “I’m good. Just… nothing great ever came easy, right?”

You can practically feel Yoongi smiling from behind you. “That’s my girl.”

“Can I?” Namjoon asks, looking down to where your bodies are connected. You nod once, and Namjoon and your boyfriend start thrusting into you alternately. It doesn’t take long before you reach your climax again, with a ton of help from Namjoon who toys with your clit while snapping his hips into you.

They reach their orgasms not long afterwards. You let them ride out their highs until their cocks gradually turn softer inside you. Feeling spent and immensely satiated, you fall over to Yoongi’s side, falling asleep in mere seconds.

The two rappers collapse onto the bed, but sit abruptly sit upright when they hear a very familiar voice coming from Namjoon’s phone. “Fucking hell! That was the hottest shit ever!” Hoseok exclaims from the screen.

“You called him?!” Yoongi asks, hitting Namjoon’s forearm. “No! I- I must’ve contacted him while I put my phone there…crap.” Namjoon looked completely bewildered.

“Hyung, can I come to Amsterdam too? Please?!”

© hhyungz 2020

[anikaswiftie]

My journey of being a Swiftie

Everyone does kind of know since when they are fans of Taylor Swift. Since when they follow her journey in life and career. For me it’s a curve of ups and downs with only going up at the end. I am making this way too dramatic, but I have this feeling like I need to write this all down and make it public, like I need to justify my fangirling journey, so I can say “I have been a Taylor Swift fan since years”. This fandom is so massive. It is the biggest fandom I have ever been a part of (and that can be scary) and everyone became a fan in different parts of their own lives and in different parts of Taylor’s life. So here is my journey, no one asked for, but yet I still have the urge to put down. 

In 2012 I was first introduced to the name and music of Taylor Swift. I was about 11 at that time. Coming from Germany, not actively listening to music or caring about it at all at that age and just getting introduced to the world wide web, I was shown my probably very first YouTube video on a black iPad 3rd generation from my best friend. It was a video of Miss Taylor Swift, playing songs in a language I could not understand (with the exception of a few words) sitting with her guitar in front of a crowd which made themselves comfortable. It was the Red hangout and the performances of three songs of the album. I do not remember which ones I listened to, but I remember watching it and thinking Taylor was super cool! Then I sometimes heard songs of hers on the radio and really liked them, but I still had no clue about being a Swiftie.

In 2015 I went grocery shopping with my dad and they sold 1989 and I asked my dad if I could have the album. And he said YES. And I listened to that album so much! I really loved it!! And I still do. So much! I liked some edits of Taylor on WeHeartIt, the only social media I got back then. And I began watching her music videos on TV and became obsessed with the Blank Space music video and know that I tried uncountable times to recreate her eating the little candy heart as elegantly and smoothly as she did. I think I failed at that :D. As you do in middle school you also exchange your tastes in music and I started discovering my own taste, mixed with a bunch of influences of others. Spotify was the platform to be, but at that time Taylor Swift's catalog was fully taken off the side and I added only a blank space cover to my playlists. It never occurred to me to buy another album off of amazon or in a music store. What most of my friends back then listened to was trap or rap. I didn’t connect with that music and also did not really like it, but I listened to it in my free time, because I thought that was what I had to do, to fit in and to be cool enough. When I rediscovered 1989 in 2016 I told a friend of mine “I have a Taylor Swift CD I like to listen to right now” and she said “That really fits you, but it isn’t my kind of music.”. And somehow I took it up as something bad, that it would suit me, to listen to Taylor Swift, I felt like that meant “I don’t like her music and we cannot talk about that, you better listen to something else or we are not having a conversation about music anymore, because your taste is so completely different then mine.”, I know that is not what she meant. But I really felt the urge to accommodate my music taste to hers/theirs. 

I only listened to 1989 at home on CD and then got caught up in a spiral of watching TV Shows and was first introduced to fandoms. I became a fan of numeros shows and began being a fangirl, also on the internet. In middle school I had a friend I would watch a show with and fangirl over it, after a while people asked us if we could not talk about something else. So we just talked about it rarely.

I began video editing and posting it on the internet and really got sucked into Instagram. I also really enjoyed The Hunger Games - Series and know that I rewinded the credits a bunch of times, because I loved Safe & Sound some much. That song I actually found on Spotify and was able to play it there as well and I loved listening to it while reading. Why didn't I listen to Eyes Open? I honestly don’t know. Maybe I did not notice it was on the soundtrack. So there I was, being a fan of a bunch of TV-Shows, starting to improve my English and thinking of music artists just as people who made music and not really got more into it.

When the music video to Look What You Made Me Do came out it was recommended to me on YouTube and I watched, fascinated by the visuals and the money that must’ve been put into this (which was a lot as I now know). After that I went back to my fangirling on Instagram. 

Then I joined stan twitter and became a fan of more and more things. Went to high school. Not being close to anyone there and just knowing two people. I started building my own personality. I was more confident, because I really wanted to meet new people and not be totally by myself. I met amazing people. Who cared and still care about me and my opinions. Who never made me feel uncomfortable for being a fan of something and encouraged me to embrace it, even though they might have nothing to do with it. They didn’t make me feel embarrassed or uneasy about it. And I am beyond thankful for that. Thank you!<3

I also had conversations in high school with people about music. And one of my classmates liked Panic! At the Disco. I began listening to a bunch of their stuff after having a meme of This is gospel on my for you page and became a fan. This was at the end of 2018. For the first time in my life I entwined in a fandom which was related to music. Around half a year later Taylor Swift released the first single of her new album, which we would later find out would be named Lover. The single was called ME! and it was a collaboration with Panic! At the Disco’s Brendon Urie. After that single dropped and I re-watched the music video many many times and watched multiple videos on it and it’s easter eggs. Followed the first Swiftie - accounts on stan twitter and then finally the legend herself.

I’ve been wanting to write an essay about this for a while now. Without listening to her other albums before finishing it. Taylor Swift, Fearless, Speak Now and Red are waiting for me. I’ve only listened to the ones which have music videos or which she covered on tour or some bits from edits I saw over the years (her songs make GREAT audios for couple video edits;)).

I am a proud Swiftie now and so proud of her! 

And yeah, I have some great albums to get to.

[linernotesandseasons]

My 18 Favorite Albums of 2018

Well...Here it is again! 2018 was a...YEAR. One of the toughest I’ve had so far. But full of hard work, growth, challenges, & little victories. Here are some of the albums that soundtracked it. 18 releases that I loved & supported. Songs that helped me make it through. For the seventh year in a row...My favorite albums. Listed here in no particular order (unless you know/enjoy the english alphabet). Top 5 are probably Monae, Rainbow Kitten Surprise, Field Report, McEntire, & Liza Anne, in that order. Music marks time & space. These are the ones for this year. Enjoy! 

AMERICAN TRAPPIST   /   Tentanda Via

       We start our 2018 journey in a comfortingly familiar place with the second official full length album from Toms River, New Jersey’s American Trappist. His self-titled debut made my 2016 favs list and his old band River City Extension (top 5 reunion tour wish list for sure!) were second to Fun. on my list way back in 2012. Safe to say Joe Michelini is one my favorite songwriters of the last 10 years. Lucky for us, 2018 found Michelini writing equal parts depressing & uplifting boardwalk rock & roll for/from the underdog/underground. Tentanda Via (Latin for “the way must be tried”) is a blast of an album; full of horns, drums (both jazzy & rock & roll-y!), inspired piano, & Michelini at the helm sounding altogether confident in his existential breakdowns. To me this reads like a coming-of-age album at heart (the way must be tried!), but a deeper, wiser sort of unraveling. A mid-30′s rock opus about learning to live with yourself. Learning how to make yourself better. These songs are inspiring and mix more than a little Springsteen ethos (maybe it’s the horns?!) with some late 90′s/early 2000′s emo/indie/alternative etc...

The straightforward rockers “Death Wish” & “Nobody’s Gonna Get My Soul” bookend the nine track album with surprisingly nimble & crunchy electric riffs and off-the-charts energy! In between, the mid tempo drive of “Getting Even” & “Don’t Get In” lets Michelini’s emotional writing really shine. The words jump out of the songs, full of passion, desperation, & an urgency that makes me glad people are still making records like this. There’s also a unholy, weird interlude that you have to hear to believe called “Unfresh Dirtwolf.” American Trappist is a band that came from the ashes of another band. A band that seems reluctant to tour West of...Ohio. A band that stays under the radar. Michelini has been writing some of my favorite songs for awhile & it feels good growing older together. Here’s hoping for a new one of these every other (or just every?!) year for me to belt along to with the windows down in my Subaru. Joe, if you’re listening out East, don’t stop. This is why I love music. 

       “Driving through my hometown I feel the peace of the Lord / Ride up behind me on a blind dream from my childhood / Looking back again, it’s hard to understand / Getting older, I guess I do / Waiting on some waking dream like it might find you...”

BLACK BELT EAGLE SCOUT   /   Mother of My Children

       I bought Black Belt Eagle Scout’s debut album at Twist & Shout Records the day it came out. I think I loved the cover art and the idea of Katherine Paul’s solemnly solo rock album, recorded in the dead of Winter in rural Washington, sounding like just what I wanted in my headphones to face the Fall. Then (as so often happens) I got a text a month later from my partner at 12:27am that read simply...

“I’m okay. Going to bed meow. Listen to Black Belt Eagle Scout.” 

From there we took Mother of My Children on a snowy road trip to Durango, Colorado. Crisscrossing mountain passes through snowstorms, & visiting Mesa Verde National Park, we let Paul’s earnest, determined, & emotional songs, sweep us into the gray. All this to say that this album has already marked some pretty specific time & place for me. There is a starkness to these songs, a simplicity that makes the songwriting stand alone. Where lesser lyricists would be revealed as phonies (or simply bad) Katherine Paul’s stark, powerful words are illuminated by her minimalist production. With a rhythmically mournful 80′s/90′s emo touch (for more modern emo fans I might even hear a little Manchester Orchestra) Paul doesn’t pull any punches. The guitar gets delightfully heavy on the outro to six minute epic opener “Soft Stud” and then twirls & spirals with the drums in the entrancingly sad “I Don’t Have You in My Life.” This is an important album for Paul to have written and there is a great power in her words. Oh also... she plays every instrument on the album!?! Guitar, bass, drums, vibraphone, keyboard, organ, various percussion, & all vocals. Very Vagabon. Very Caroline Rose (spoiler alert!)! With our world on fire, and full of threats (from our own government) to native lands & native people, it’s increasingly important to listen to and hear/heed the words and writings of people like Paul; a radical, indigenous, queer, feminist from Oregon. Thanks for speaking out KP. Listen to Black Belt Eagle Scout. 

       “Do you ever notice what surrounds you? When it’s all bright & tucked under / Do you ever notice what’s around you? When it’s all right under our skin...”

CAMP COPE   /   How To Socialise & Make Friends

       Camp Cope is a GREAT band name. Camp Cope is a REALLY GREAT band. Camp Cope has a wit & an attitude that is so punk rock, so genuine, & How To Socialise & Make Friends is a powerful album. Hailing from Melbourne, Australia, Camp Cope rides a practiced garage-y sound and lead singer & lyricist Georgia Mac’s passionate howl and impressive writing. As someone who grew up on early 2000′s pop-punk, emo, & alternative (something I guess I probably regret more often than celebrate. Because toxic masculinity & white male fragility) there is something so bittersweetly nostalgic in these chord progressions, the earnest electric strums, the yell-sing vocals, that takes me back to high school. Georgia Mac has a way with words, sliding them in & out, over cascading, steady strums, & then sometimes building them up to a frantic yelling. These are songs that sound as if they had to come out, had to be sung this way, like no one else could write or sing them. With an equally muscular rhythm section, “The Opener” attacks music industry sexism head on (if you haven’t seen Camp Cope live, it is chill inducing hearing a whole room belt along to every word) with a bass riff that could fly a jetliner. The three members interact so well together musically and everything from the driving “UFO Lighter” to the lilting “Sagan, Indiana” sounds tightly rehearsed. Equally passionate in their social media presence and their willingness to engage and fight for social justice issues, Camp Cope represents the future. Bands like this are changing the game right now and it’s exciting to hear it in real time. 

When I close my eyes for a second, as the title tracks rings out and the gorgeously, lightly sad “The Face of God” ambles in, I’m 17 again. I’m driving for the first time, crying at the moon by myself or laughing with my friends. I’m a freshman in college, skipping my Friday classes (and braving mountain passes!) headed west, headed home. Then I snap awake and I’m 32, it’s Winter here and Georgia bellows “Just get it all out, put it in a song. Just get it all out, write another song!” Thanks Camp Cope. This album is special. 

       “It’s another all-male tour preaching equality / It’s another straight, cis man who knows more about this than me / It’s another man telling us we’re missing a frequency / SHOW ‘EM KELLY / It’s another man telling us we can’t fill up the room / It’s another man telling us to book a smaller venue / Nah, hey, cmon girls we’re only thinking about you / Well, see how far we’ve come not listening to you / ‘Yeah just get a female opener, that’ll fill the quota’...”

CAROLINE ROSE   /   Loner

       It took Caroline Rose four years from her weirdly rootsy-riffy debut album to find her true self, but Loner sounds every bit like an artist comfortable in their own skin & confident in their craft. Dialing up the synths, fuzz, and brilliantly tongue-in-cheek lyrics, Rose touches on all the big topics: drugs, death, sex (ism), and money! with a casual, conversational songwriting maturity that belies her 28 year old sophomore-ness. Favorites include “Jeannie Becomes a Mom” (check out that bouncy organ!), the steady build & twisty, head-turning songwriting of “Getting To Me,” & the electro warp & wend of “To Die Today.” I was finally convinced into falling for this album when my partner played it three times (or was it six?) back-to-back-to-back on a rainy Summer Sunday afternoon drive from Granby, CO back into Denver. Something about the pacing; the complex, yet immediate song structures that leave you wanting more. These are songs of tested confidence. But shining through it all, Rose is a wild card. A red clad rockstar with a palpable spirit, not afraid to wear her heart on her sleeve & laugh a little along the way. Loner is full of dance jams for the cool kids & the loners. At its core it preaches acceptance, and teaches us to love ourselves & love each other for who we are. Go Caroline! See you in a month in LA! 

       “Waitress sets the tables, two & four & six / Laying placemats, knife, fork, spoon, upon napkin / All the counter people, she knows us all by name / A counter people fission, everywhere we are the same... / & so you line ‘em up, a single cell, another one gone / Ostracon vase with your name on the line...”

FIELD REPORT   /   Summertime Songs

       At some point during this year I begin to realize how important beloved songwriters releasing new works is always going to be to me, I was falling (& re-falling) for new works from long time favs Calexico, Gregory Alan Isakov, Florence & The Machine, & of course Phosphorescent. But somehow it was Field Report’s third release Summertime Songs that stuck and became perhaps the most meaningful of all. I fell in love with Field Report in the midst of a hard, hard winter (2012 I think). Their sophomore album Marigolden has been a constant companion since 2014. I first heard this set of songs (the ones that comprise Summertime) in the June of 2017, sweating in the familiar Eau Claire, Wisconsin heat. Hearing a set of 100% new, unreleased material is exciting and also kind of a risk. After the set I wrote that the new tunes “Sound like June. Like wet cement & flash floods. Like swollen rivers & mosquitos full of hard fought human blood. Like growing older & having kids. Intimate details stretched over skittery, percussive thunderclouds. Like grabbing an electric fence. Digging in &...replanting.” I was 100% in it. On a high in Wisconsin & falling deeper in love with music. Then Field Report went mostly silent & we had to wait till early 2018 to get the recorded versions. Adding even more drums (Shane Leonard deserves a shout-out here as a killer pocket player!) some electronic effects, and ramping up on the arm-out-the-rolled-down-window singalongs definitely serves Chris Porterfield (did you know the name Field Report is just an anagram of his last name?!) well. Whoever it was who asked him “why don’t you try Summertime songs” was on the right track. His songwriting is as electric as always on this set of heartbreakers & as usual he follows a lot the same threads. His lyrics here are visceral, wordy, & wise, & i can feel the songs growing up with me. Sometimes I lead, sometimes they lead me, but we always seem to find each other exactly when we need to. 

       “Time is a bird with a mean, hooked beak / & he’s just waiting around to work on you & on me... / Shotgun wedding, black on blue / The river’s swelling like a bruise...”

H.C. McENTIRE   /   Lionheart

       Heather McEntire has been carving out a name for herself in the North Carolina music scene for years fronting old-school punk band Bellefea & more recently, the much loved Mount Moriah. But way way back in January, Lionheart roared in under her own name; all ferocious & tender, confident & wild. A true southern record, Lionheart is vocal & lyric forward. From the Sunday morning hymn swell of opener “A Lamb, A Dove,” to the driving swing of “Baby’s Got the Blues,” & the late night, red wine country of “When You Come For Me.” McEntire enlists all her talented musical friends on this effort. There are co-writes with the legendary Kathleen Hanna of Bikini Kill (whom McEntire credits with helping her find her individual voice), bgvs from Amy Ray (Indigo Girls), Angel Olsen, & Tift Merrit, & inspired guitar work from William Tyler & Durham favorite Phil Cook!

Through it all, McEntire stays true to the thread that made Mount Moriah’s “How To Dance” one of my 2016 favs. Lionheart exudes the smells & scenery of North Carolina and reads like a map at times, referencing points from Stoney Creek to the Green River Gorge. Some of my favorite songs written over the last five years (or ever) have a very strong (& often specific) idea of place. If country music is going to representative of the country that I want to live in, it’s going to be sung by people like Heather McEntire.  A powerful queer southern woman; vulnerable & brave, a true Lionheart. 

       “You’ll find me in the hollow, dosing anything that might / Make the map look any smaller, give me a dog in the fight / So call it off or call it God, call it anything you like / Do you see it in my eyes? / A levee on the rise, do you see it? / The tellin’ ain’t told gently, so pay your tab & pay your dues / The dogwood & the chicory & a silent wood stove flue / Your baby’s got the blues just like you...”

iZCALLi   /   IV

       I was late to the party on Izcalli (a band from my own city!) and when I found them, it was magical, I think they were playing an opening set for Jessica Hernandez & The Deltas at Lost Lake and I probably stumbled in late from PS Lounge or Tommy’s Thai to shredding electric guitar & ska, latin funk, & pure Led Zepplin Rock & Roll. Frontman Miguel Avina was howling & stomping in Freddy Mercury-meets-Mariachi white pants, his long curly hair everywhere, all energy. I was immediately hooked. Calling them my favorite local band and finally getting to put them on this end of the year list. Izcalli joins some pretty good “local band” company here on linernotes&seasons. From Nina De Freitas’ EP last year; Yawpers, Covenhoven, & Rateliff in 2015, to Isakov & Covenhoven in 2013 & The Lumineers all the way back in 2012! Izcalli has been playing around Denver for 13 years and have slowly built up enough of a following to headline the Bluebird Theater last year. Their fourth album (aptly titled IV) comes out swinging and showcases plenty of heavy power chord riffs, violin, horn, & songs in both English & Spanish. Their heavier, more classic rock influenced songs (”Lightning Red” & “Eso Velocidad”) absolutely explode with fiery lead guitar and inspired drumming. When they dial it back and let their Mexican influences show through, like on the eerily crunchy, violin led “Quite de Mas” and the woozy saxophone breakdown of “Solo Se Morir,” they showcase depth and a real songwriting ability. There is an almost Muse-like thunder to the monstrous organ riff of “A New Lie” and closer “Si Estoy Contigo” sends everybody out dancing. With influences from all over (most notably their homeland Mexico City) & a live show that’s not to be missed, Izcalli embodies everything I think of when I think of a true Denver band. 

       “A frozen heart in me turned out to be my one way home / I swear I’ll leave, I’ll drive myself down to Mexico...”

JANELLE MONAE   /   Dirty Computer

       Dirty Computer is my favorite album of 2018. Much like my favorite album last year (Lorde’s Melodrama) no one was as simultaneously honest & excavating in their personal songwriting; while still writing such absolutely shredding club bangers, as Janelle Monae. Dirty Computer acts as a coming out party of sorts for the 32 year Kansas City-ian, although, to be fair, her first two albums had already scored her Grammy nominations and the stamp of approval from Prince, Eryakah Badu, & Michelle Obama. Her debut The ArchAndroid and her followup The Electric Lady, found her creating elaborate alter egos, protest songs, and complex, critically acclaimed song cycles about life as a black woman in America. With Dirty Computer she is able to hold multiple titles at once. Schizophrenically on top of her game, tying all her alter egos together with stellar production, monster vocals, and some of the best, most interesting pop songs since...well...maybe since Prince. From the Brian Wilson assisted eerie sci-fi sweetness of stage setting opener “Dirty Computer,” she lets loose on some of her most fun, live-a-little anthems “Crazy, Classic Life,” and “Take a Byte.” Deeply personal, political, & inspiring “Django Jane” is stunning, & sets the stage for mega back-to-back singles “Pynk” & “Make You Feel.” Songs of my (and everybody else’s) Summer for sure. “I Got The Juice,” is light & bouncy, & personal favorite “I Like That” is rebellious & rides an immediately memorable instrumental into one helluva vocal take from Monae. She makes a political statement in closing with the anthem “Americans,” (anybody else think this one especially sounds like a lost Prince track?) but her strength is her ability to be both personal & political; a true diva with a purpose. These songs are Janelle creating and sounding exactly how she wants, pushing the limits of what a superstar can do, Her show at the Paramount in July was a highlight for me, and Dirty Computer is hands down my album of the year. 

       “Box office numbers & they doin’ outstanding, running out of space in my damn bandwagon / Remember when they use to said I look too mannish? / Black girl magic yall can’t stand it...”

LIZA ANNE   /   Fine But Dying

       In a year where I seemed to gravitate to albums & songs about living in, and growing through, mental health issues; Liza Anne’s blistering (and epically titled!) Fine But Dying was definitely a top five album for me. A gifted songwriter, Dying finds Anne finally letting it out with a heavy band, a light touch, & a deep dive into the insecurities & struggles that seemed to be (gulp) some of the same ones I was going through this year. Songs about conversations, relationships (both romantic & platonic), and most importantly, about examining & improving yourself. No one on this list unpacks, observes, and mines their own heart & mind as well or as deeply as Anne does across these 11 tracks. When she really cuts loose, like in the ballistic breakdown of “Kid Gloves,” the fuzzy crunch of “Get By,” or the spiraling, swirling (& also epically titled!) “I Love You, But I Need Another Year” she shines. Fine But Dying is wise beyond its years and a no-holds-barred, place-in-time look at mental health & how we should all be addressing our issues & working things out. Her show at Globe Hall here in Denver back in April was cathartic, thoughtful, & one of my favorite of this year for sure. Yay for fearless songwriters, Yay for rock & roll. Fuck yeah Liza Anne!

       “I ran once, took my flight across the ocean / I thought if I could make my way across the sea I’d find a place / Now I’m swallowed up by a city that doesn’t give a fuck / To whether I am up on time / Or whether if I am, well...alive / & I’m so good - getting too good at hiding / Too good at keeping to myself that I’m spiraling...”

MESHELL NDEGEOCELLO   /   Ventriloquism

       I think it was “Atomic Dog 2017″ that first caught my ear at some point last year. I didn’t know Meshell Ndegeocello, but I knew that what I was hearing was classic. The off-kilter guitar strums slithering into that bass drop, finally settling into a steady groove, that melody appearing (seemingly out of nowhere) into a rolling, & instantly recognizable chorus. Next thing I know I’m googling George Clinton and off into an 80′s funk youtube rabbit hole. A covers album to stand up to any other covers album, Ndegeocello has a masterpiece on her hands in both song selection & creativity. In a year where she turned 50, the sneakily titled Ventriloquism is her 12th studio album, Inspired by listening to oldies radio on car rides to her childhood home, influenced by Prince & Neil Young; Ventriloquism is a super smooth revamp of 80s & 90s R&B. What Ndegeocello does so seamlessly on Ventriloquism is take these songs and make them flow as a part of a whole. There is light in the darkness here. There are threads of continuation here. An appreciation for those who came before, those who paved the way. Ndegeocello is a true artist and these reinterpretations not only nod to classic songs & artists, but dig out their own little important niche in 2019. 

       “Sometimes it snows in April / Sometimes I feel so bad, so bad / Sometimes I wish life was never ending / & all the good things they say, never last / Springtime was always my favorite time of year / A time for lovers holding hands in the rain...”

MIYA FOLICK   /   Premonitions

       Every year I wait till the last minute (and beyond!) to finish this list. I write it up in November & December, agonizing & filling out what I think are my favorite albums (18 this time!) of the year. I enjoy whittling the list down to a manageable number, but I also enjoy reading everyone else’s lists; finding new finds & hearing what other people liked. Then, sometime in the middle of December, I am knocked out by something I missed over all the year of listening & reading. This year it is MIYA FOLICK! I was given a wintry new year’s mix of goodbye 2018 (and F*** you!) tunes from my partner (which I will probably post & write about sometime as soon as I finish posting this because it is goooood), and track 9 of that spotify mix. Bouncy horns, a killer beat, & lyrics that cut right to me but leave me smiling. Rhyming “self home” with “cellphone”?! Singing about leaving the party?! Yesssss!. This is for me! On deeper listens, Premonitions is a goddamn masterpiece. Starting slowly & melodically, openers “Thingamajig” and the title track are captivating, then it unexpectedly explodes into 80′s dance bangers about half way through. Most of the album is deeply personal and self examining, finding Folick digging into to her own weaknesses & fears, without always settling on answers. She is vulnerable yet grand; part Lorde, part Florence, part Stevie NIcks, part Regina Spektor...All Miya. At its core, Premonitions celebrates life, celebrates the little victories. If you want to know/hear what that sounds like, maybe I should let you read from Miya’s bandcamp page...

       “Premonitions begins with ‘Thingamajig’ -- something you can't quite recall the name of, but you know exactly what it means and what it feels like. Like the pull of desire that comes with not quite remembering fully. The magnetism of something just on the tip of your tongue. I wanted the album to feel like that thing.

I think a lot about about memory-making as an act of creation, the words we use to describe a memory give shape to and sometimes mutate the memory itself. I believe that the way we choose to describe the events of our lives is not only a means of creative fulfillment, but an absolutely vital part of creating the world we want to live in. When we are dishonest in the present, we create a dishonest future. When we are honest in the present, we create a more honest future. I wanted this album to be the vehicle for a hopeful, truthful, generous, and loving world. I tried not to posture or pretend. I wrote about my life as I've seen it and how I'd like to see it, as both memory and premonition.

The producers, Justin Raisen and Yves Rothman, and I spent months collecting organic sounds to fill the world of this record. We threw away everything that felt false and tried to keep the soul of each song alive. I hope Premonitions gives you comfort and joy. I hope it feels like all the mysterious details of your lives, all your massive and mundane glories. I hope it reminds you that there is beauty in the details. Rainbows in your sprinklers. Drinking water from a hose. The way it felt to make a friend for the first time. Locking yourself in a bathroom to avoid everyone. Dancing until your shins burn. Leaving your phone in an Uber and making your best friend drive you an hour away to knock on a stranger's door after locating it on Find My Phone. Losing a friend. Losing yourself. Remembering...”

MT. JOY   /   Mt. Joy

I had almost finished making this list and nearly forgot about an album that marked a month-plus in the Spring when I listened to almost nothing else! Philly by way of LA’s Mt. Joy debut with an album that blends sunny California folk & smoothed out east coast pop-emo, into easy listening, easy singing indie rock. Named after a mountain in Valley Forge National Park (SE Pennsylvania); Mt. Joy’s songs similarly find geographic touch points across the US, making this a true road trip record. Multiple California references (San Fran, Mulholland, Hollywood, the ocean), make their way down to New Orleans, and end up on the east coast (”blood on the streets in Baltimore” & “the beaches of Chincoteague”). Without breaking any new musical ground, Mt. Joy sounds comfortable & confident, and their songs play bigger & stickier than your average radio friendly pop-saturated-folk. When the title track hits its festival ready build (”you can’t stop us, feel like Ziggy Stardust”) you’ll have a hard time not rolling down your window and singing along. “Way up over Mt, Joy. Where everyone’s free now. To move how they feel now.”

       “Your life will change straight out of the blue / The clouds in your mind just passing through / Image the horses when you set ‘em free / Go tear down the beaches of Chincoteague...”

NONAME   /   Room 25 (& Song 31)

       Room 25 kicks in innocently enough: smoothly humming wordless voices, steady drums, & jazzy piano flourishes. Like a lazy Sunday morning. Noname (Chicago’s 27 year old Fatimah Warner) introduces herself with a laid back, matter-of-fact, stream of consciousness “maybe this is the album you listen to in your car when you’re driving home late at night, really questioning every god, religion...” But then she says something that should make you pay attention. 

“Nah. Actually this is for me.” 

That creative confidence. That freedom, defines the rest of her album. No matter how much critical acclaim Room 25 racks up (I saw this album on a ton of end of the year lists!), no matter how downright fun & laugh out loud funny her breakneck rhymes are, this one is for Noname. I mean, you can still download (aka OWN...like for your ipod!) the whole album on bandcamp FOR FREE! Following in Chance’s footsteps, it’s free mp3s for people like meeee! Raised in Chicago’s slam poetry scene, she dabbles here in downtempo, smoothed out, futuristic jazz & soul. All the while she is unapologetically herself. Her words tripping over each other, too many thoughts, too much energy, too much passion to hold in. A clear blockbuster talent. One of my favorite new finds from last year’s Eaux Claires festival, her late afternoon set up on the hill was radiant & joyful. The artwork I used here is from her early 2019 single “Song 31,” as she has pledged to change the official Room 25 cover art, due to assault charges leveled in October against the artist who did the original cover. “I do not and will not support abusers, and I will always stand up for victims & believe their stories.” Noname said, and she has been proven to be as vocal in her personal life as she is on tape. As she says in the uplifting “Ace...” 

“Globalization is scary, and fuckin’ is fantastic” And yall still thought a bitch couldn’t rap huh?...

       “When labels ask me to sign, say ‘my name don’t exist’ / So many names don’t exist / Moved into Inglewood & the trauma came with the rent / Only worldly possession I have is life / Only room that I died in was 25... 

Medicine’s overtaxed, no name look like you / No name for private corporations to send emails to / Cuz when we walk into heaven, nobody’s name gonna’ exist / Just boundless movement for joy, nakedness, radiance...”

RAINBOW KITTEN SURPRISE   /   How To: Friend, Love, Freefall

       Rainbow Kitten Surprise made one of my five favorite albums this year (and probably the one that I sang along to in the car more than any other!) Imagine Modest Mouse growing up in North Carolina, in the 2010′s, writing smart, anti-lumineers-imagine dragons tunes, and going on to play arenas & rock clubs alike. This Boone, NC (pop. 17,000) five piece crank out catchy pop rock tunes; equal parts funky basslines, ooohs & ahhhs, and deceptively clever lyrics about religion, the south, and relationships both platonic & romantic. Huge single “Fever Pitch” rides rolling drums, background whoops, and finds charismatic frontman Sam Melo languidly recounting his religious upbringing and sing-rapping about getting to know you better. Other standouts include the acoustic blues (and Aha-Shake-era-Kings of Leon reminiscent!) “Painkillers,” the “Moon & Antarctica” rattletrap sing-song of “Possum Queen,” and the laugh-out-loud funny breakneck alternative pace of “Matchbox.” But it is song of the year contender “Hide” where Melo lays bare his feelings about growing up gay in a deeply religious south, when you get a peek at what Surprises these Rainbow Kittens are capable of. What starts as a bouncy love number takes a turn into some deep songwriting with “I’m running from a place where they don’t make people like me, I keep the car running, I keep my bags packed. I don’t wanna’ leave, just don’t wanna’ leave last.” This is Fruit Bats’ “Soon-to-be Ghost Town” written by someone who’s lived it. RKS packages it all up as emotional anthems, dancey-catchy choruse that stick, & an album that-while serious, is so damn fun to sing along to. They’ll be at Red Rocks next Summer so come hop on the bandwagon and get to know your new favorite band!

       “You’re a master of passive-aggressive magic tricks like “that’s not the card that I would’ve picked, but it’s your life to live like how you’d like to live...’”

SUN JUNE   /   Years

       Sun June’s debut record Years is an album that I never expected to be on this list, but one that pushed its way into my heart, ears, and mind a lot over the early Summer. I kept comparing it to Leif Vollebekk’s gorgeously haunting 2017 release Twin Solitude that made it on last year's list in that it managed to be rhythmically funky & interesting while being mostly SO quiet. Even the more “upbeat” numbers; from the gorgeously, golden swing of “Young,” to the steady backbeat of “Baby Blue” keep their composure meticulously. The writing is transfixing on Years and the band is so tight, with every member adding just the right amount of soft sound. I tried to explain it to somebody as music you have to “squint to hear.” It sounds good in the background, all sweet & rolling. But better up close, turned up in headphones. All together & bright. This is an album I would listen to sleepily, on my way home from work, driving Colfax in the first light of dawn at 5 in the morning. Sun June’s lack of an internet presence is refreshing (is there ANYWHERE I can find the lyrics for this album??!!), I think they’re from Texas, and I don’t think they’ve even played a show in Colorado yet! Regardless, Years is tied together with a quietly tight rhythm section, and Laura Colwell’s wispy vocals, grabbing at the edges of my brain, calmy insisting “Four in the morning, I could get used to this...”

       “I was almost always leaving / Looking for the reason / Bedside hospital daylight / I go with the Southern mountains / Down the 405, I’m coming tell me you don’t deserve this / I was young...”

TIERRA WHACK   /   Whack World

       I love me a good concept album, but even I would’ve thought that the idea of 15 one minute songs(complete with video accompaniment) making up an entire album, would be a tough sell. Whack World makes good on an innovative concept, delivering something breezy, catchy, & lasting, and making Tierra Whack one of my favorite new finds of 2018! My little sister showed her to me on a “Get-your-ass-to-the-gym” playlist and “Fruit Salad” was immediately stuck in my head for weeks. Mostly down-tempo, Whack is clearly a witty lyricist and creative mind, and at 23, a game changer in the music scene. Also an effortlessly cool, musical, badass. With almost no choruses, this is an album you can listen to over and over (and throw any tracks in mixes) without any clear singles. The bouncy gospel-tinged “Pet Cemetery” has hand claps & dog barks, and is followed immediately by the laugh-out-loud vocals of “Fuck Off.” Whack never takes herself too seriously (so many off the wall and laugh out loud funny vocals!) and the Philly native shows that one minute songs can turn a lot of heads and end up on a lot of end of the year best album lists! Whack World!

       “Crispy clean and crisp & clean / For the dough I go nuts like Krispy Kreme / Music is in my Billie genes / Can’t no one ever come between yeah / Don’t worry about me I’m doing good, I’m doing great, alright...”

TYPHOON   /   Offerings

       It seemed like a lifetime since Typhoon released their sophomore knockout, masterpiece album White Lighter back in 2013. I’ve grown a lifetime since, experienced everything since. In the first few weeks of January 2018, out of the darkness, out of the silence: came something darker, weirder, but still magical and at its core, celebratory. Typhoon is one of my all-time favorite bands, one of my favorite live shows, and frontman Kyle Morton writes about memory & loss, life & death, better than anybody in the game. With Offerings they have dropped the peppy horns, slimmed down to (only!) seven members, and zeroed in on the heavy, spiraling folk-rock that hearkens back a little to Bright Eyes or The Decemberists, Broken Social Scene or Arcade Fire. As a loose concept album, Offerings explores in four movements (Floodplans, Flood, Reckoning, & Afterparty) what happens to a mind stripped of memory. Or (side quest/plot/twist) a world willfully forgetting its history. From the hushed chanting that explodes into huge string swells, drums, and shouts of opener “Wake” to the rhythmic, glowing build of the 8 minute “Empricist,” to the mystical picking and ruminating of “Algernon” the first movement could almost stand as an album of its own. The rest of the album unravels at equal parts slow reflection (”Mansion” & “Beachtowel”) and sweeping indie rock (”Remember” & “Darker”). Although a lengthy (and at times not easy) listen, I think Offerings will go down as one of the most ambitious rock records of the last few years. 

       “& so the light fades / It’s still your birthday / So blow out your past lives like they’re candles on a cake...”

VALLEY MAKER   /   Rhododendron

       There is a mysticism buried somewhere in the emotive vocals & break-in-the-clouds writing of North Carolina by way of Washington State’s Valley Maker. Austin Crane is the singular voice behind the Valley Maker project, painting time & space on a dark, slippery canvas, and hiding complex truths in the rhythmic tides of Rhododendron. This ground has been tread before; by countless folk singers & prophets, wailing of death, dark magic, & the myriad mysteries of time, but Valley Maker understand their place in the linear and bring a modern take to ancient stories. Part War on Drugs-highway-drone (check the double yellow rattle of “Light on the Ground”), part Ben Howard’s-foggy-British-countryside (”Beautiful Birds Flying”), Crane writes songs that stick. They claw and seep their way into skin, into veins, and haunt in a way that echoes of the past. This is songwriting as a conduit. These stories are Crane’s, but they are older; tales told since religion begin. From the first lines of the roiling, dark sky opener (”time is just a game I play / it’s written on the ocean’s waves / circling beyond my brain / something I could not contain.”) to the uncertain give & take of the earthy “Seven Signs” (”I’m cutting in line but I haven’t decided...”) the writing is equal to the musicianship Crane and his backing band clearly have in spades. With Chaz Bear (Toro Y Moi) providing stellar percussion and Amy FItchette (who I was lucky enough to see sing with VM at the Doug Fir in Portland) lending absolutely haunting, otherworldly harmonies, Crane has depth beyond his strange tunings and bleep & bloop electric forests. Through it all there is a steady rhythm to the darkness and like in “Baby, In Your Kingdom” when he tops a wonderfully simple, acoustic walk-down with “Baby are you satisfied? Take a decade, take a lifetime, I know we’re always on a one way street...” there is a timeless beauty even in the mystery. Oh, and saxophone. Rhododendron has some great saxophone. 

       “Baby in the next life / I can touch you, I can ride the light / Goddamn I wan’t where I thought I’d be / 29. Burn the world around me & I hide / Baby in your kingdom / Sink my roots in, I’m a tall tree / I know, wind is gonna blow again / I know, when I am with you...I am known...”

[odanurr87]

Let’s talk... TRON, Part 1: Legacy

Let me preface by saying I have not watched the original 1982 TRON movie. I was introduced to the world of TRON in 2010 with the release of TRON: Legacy, a sequel that tried to reboot, or rather re-energize, the franchise, starring Jeff Bridges as Kevin Flynn, Garrett Hedlund as his son, Sam, and the mesmerizing Olivia Wilde as Quorra (admit it, she’s gorgeous!). Neither the critics nor the public were too thrilled by it at the time, arguing it was more spectacle than substance. To this day, the movie stands at a 51% critic score and a 63% audience score on RT. IMDb puts it slightly higher at a 68% audience score. I recently re-watched it on Netflix so I decided to share my thoughts on it. You may have noticed this blog post isn’t titled, “My thoughts on...” as I usually do for reviews. That’s because I’m not just going to talk about TRON: Legacy but also its, arguably superior, animated spin-off, TRON: Uprising, released between 2012 and 2013, starring an amazing voice cast that I will mention in due course. It remains one of my favourite animated series after Avatar: The Last Airbender. But let’s get to it, shall we?

Spoilers for TRON: Legacy naturally follow. You’ve been warned.

Legacy follows the character of Sam Flynn, the son of Kevin Flynn, an employee and eventually CEO of ENCOM corporation, who has been missing for the past 20 years (the father, not the son, obviously). The opening of the movie showcases that Sam has apparently inherited some of his father’s programming genius (even though he never gets to use it again afterwards) but he also has trouble accepting his father’s disappearance and moving on, pulling off reckless stunts for the sake of it. We’re also briefly introduced to Bruce Boxleitner, reprising his role as Adam Bradley, Kevin’s friend and business partner, a return I have no doubt fans of the original appreciated but he’s sadly underused, either as Bradley or in his much juicier role as Tron (for reasons that will become apparent soon). ENCOM is portrayed in a bad light because... they want to sell their products? I know what they’re trying to do here, and certainly parallels can be drawn to corporations like Microsoft or EA (”This year we put a 12 on the box”), even to this day, but it’s rather flimsy. No matter, since it isn’t long before Sam, having received a strange message, goes back to his father’s arcade shop and finds and activates a curious machine that transports him to the Grid.

The Sirens outfit Sam for the games. It doesn’t hurt these women are gorgeous to boot.

The Grid is a vast digital sandbox populated by programs who take on the shape of human beings. From the start, I loved the look and feel of it, with its mixture of black, blue, cyan, and white colours, and the incredible technology on display, from light cycles to light jets, all of these rendered from a baton that is most certainly not used as a sword. The outfits used by programs are also really cool to look at and while I’m partial to black myself, those sirens wearing white almost convinced me otherwise. TRON: Legacy takes advantage of the outfits to distinguish friend from foe: programs with red lights are on the side of the bad guys while programs with cyan or white lights are, mostly, free and can go either way. That’s the short version anyway. The long version is that all programs on the Grid should wear black (or white) outfits with cyan/white lights and stripes. However, those programs that have been repurposed by the enemy change their lights and stripes to red. In any case, it’s a simple way for the audience to tell who the bad guys are. Last but not least, every program on the Grid is equipped with an identity disc that serves both as a storage device, containing a program’s code and its “memories,” and a melee/ranged weapon for combat, as Sam soon finds out.

As you might have guessed,TRON: Legacy is, indeed, a beautiful movie to look at, something that shouldn’t come as a surprise considering it was directed by Joseph Kosinski, who who would later direct Oblivion, a movie with outstanding cinematography and, incidentally, a great soundtrack. Because, let’s face it, as visually stunning as this movie is, it wouldn’t be half as good were it not for its amazing soundtrack, composed by none other than Daft Punk, who curiously make an appearance and feel right at home on the Grid, and arranged and orchestrated by Joseph Trapanese (keep his name in mind ‘cause you’ll see it again). The combination of orchestral and electronic music imbue the world of TRON with a sense of wonder and strangeness, of having been transported to a world that works under a different set of rules. I can safely say without a shred of doubt that this movie’s soundtrack is excellent from beginning to end, with some of my favourite pieces being, “The Son of Flynn,” “Outlands,” “Solar Sailer,” “Disc Wars,” and, of course, “Flynn Lives.” Hey, I did say this soundtrack was awesome all the way through! It is definitely one of the best movie soundtracks I’ve ever had the pleasure of listening to and it’s definitely worth a purchase.

Just knocking on the sky and listening to the sound, man.

What about the story? It starts out as a tragedy. A long time ago, when Flynn created the Grid, he brought over Bradley’s creation, Tron, to protect it, and also created a new program in his image named Clu. Together they were going to create the perfect system, whatever that was supposed to mean. Over time, and with their discovery of ISOs or isomorphic algorithms, programs that spontaneously came into existence, Kevin’s outlook on perfection was radically altered, but Clu’s remained the same and he regarded ISOs as a threat to his goal of creating the perfect system. This eventually devolved into insurrection as Clu turned on Flynn and Tron, killing the latter and forcing the former into exile. Fast forward 20 years to Sam’s arrival and Clu reigns supreme as dictator, repurposing programs to either fight in the Arena for entertainment or join his massive army. Having achieved the perfect system in his eyes, Clu has now turned his attention to Earth and has thus engineered Sam’s arrival on the Grid to force his father, Kevin (whom I’ll simply call Flynn from this point onwards), out of hiding and claim his disc, the key to the portal that links both worlds.

The movie initially plays around with Clu’s likeness to Flynn in order to trick Sam into trusting him, but it quickly dashes any and all potential it might’ve had by revealing the truth. It really is a shame as had Clu actually put some effort into recruiting Sam it would’ve made for a much more interesting movie, maybe echoing some of Jack’s conflict in Robin Williams’ Hook. Instead, the movie elects to follow up with a light cycle confrontation between Clu and Sam and the latter’s subsequent rescue by another program named Quorra. It’s a cool sequence to be sure and a badass way to introduce Wilde’s Quorra, not to mention it was supposedly part of Clu’s plan to ensure Flynn would know he had his son. Unfortunately, it turns out it’s mostly by coincidence that Flynn learns of this as he’s practically a recluse. Had it not been for Quorra’s curiosity and timely intervention, Clu’s plan would’ve ended almost as soon as it began.

An awkward reunion between father and son with Quorra caught in the middle.

Father and son are soon reunited but it’s a rather uncomfortable reunion. After all, how do you explain to your son why you’ve been absent for a large chunk of his life? It’s true Flynn tried to go back repeatedly and failed but it’s still a difficult thing to take in, more so when his father stubbornly refuses to play into Clu’s game and make a run for the portal. Quorra is also placed in a tough spot, immediately picking up on the tension between the two. As Flynn’s protégé sle clearly looks up to him for guidance and would give her life to protect him but she’s also persuaded by Sam’s argument, which is why she helps him get in touch with Zeus, comically played by Michael Sheen, a program who can allegedly arrange for safe passage to the portal. These three, together with Clu, are the core of the movie. How do they fare? 

Jeff Bridges delivers the best performance all around, even if it sometimes lacks the emotional outbursts you’d expect from being reunited with his son after all these years. Even so, he pours a lot of enthusiasm into some of his scenes, such as when he’s describing the ISOs, and he’s a little bit of a matchmaker if you pay close attention to the solar sailer scene. To my mind, Olivia Wilde comes second in the acting department, playing the somewhat naïve but totally badass Quorra. To be fair though, her best moments occur when she interacts with Garrett Hedlund’s character, Sam, so maybe they’re something of a packaged deal. I feel like Hedlund delivered a mostly solid performance across the board but probably not one that will turn any heads. Save for Quorra, the two Flynns appear quite stoic for a good chunk of the movie, or at least that’s how they came across to me. Things change a little when Flynn decides to play Clu’s game and rescue Sam from Zeus’ trap, losing his disc in the process, giving all three some time to bond during the beautiful solar sailer scene. It is then that we learn that Quorra is the last of the ISOs, and that Flynn has been protecting her for all these years.

Sam and Quorra share a moment aboard the solar sailer.

Of course, all good things must come to an end so it isn’t long before Clu’s top lieutenant, Rinzler, catches up to our heroes and captures Quorra. I have somehow managed to avoid talking about him for a while now and it’s decidedly unfair seeing as he’s probably more of a menace than Clu. Rinzler speaks very little in this movie but his mere presence is imposing, backed up by his incredible combat prowess as he proves to Sam during their fight in the Arena. With good reason, as it turns out Rinzler is none other than Tron, reprogrammed by Clu to become his loyal servant. In hindsight, it’s surprising I didn’t pick up on this sooner considering his outfit practically screams this. On the other hand, since I knew nothing about him before this movie, let alone his symbol, it would’ve been nothing short of a miracle had I done so (although the movie sets this up during the flashback sequence of Tron buying Flynn time to escape Clu). It is such a shame then that we don’t see Tron make a comeback, even though the movie hints that he was able to overcome Clu’s programming when he fell into the Sea of Simulation. If a sequel to Legacy is still in the works, it must include Bruce Boxleitner’s return as Tron. If not for his role in this, then most assuredly for his role in TRON: Uprising.

Rinzler is to Clu what Darth Vader is to Palpatine, except he doesn’t even need to speak.

Events now converge. As Clu prepares to lead his army through the portal to conquer Earth, Sam cooks up an intrepid plan to rescue Quorra and retrieve his father’s disc. It’s a great scene made more awesome by Daft Punk’s “Disc Wars” playing in the background. Don’t ask me why but it reminded me of the movie Flash Gordon, with Flash making his triumphant return, or at the very least a most daring entrance (ah, now I know why, it’s because I’m reminded of the drones in Flash Gordon!). I’m in two minds about this scene as it does speak volumes to see Jarvis’ reaction to the ensuing fight rather than the fight itself (it’s certainly more foreboding that way), but it’s still a pity that we don’t get a chance to see how Sam’s disc skills have improved since entering the Grid (probably not a lot going by his performance at the night club). And that moment when Sam takes the disc and alerts Clu to what’s going on... Damn, this song’s good!

Not one to give up easily, Clu follows our intrepid trio of heroes in a light jet chase to the portal for the inevitable showdown with his creator. Props to Jeff Bridges here again, as one does feel for Clu, to some extent, when he argues he was only doing what Flynn programmed him to do, trying to bring about the perfect system they had both dreamed about. Clu is a staunch proponent of order over chaos, he’s the Yin to Flynn’s Yang (Wenli!), something that is referenced several times in the movie through Clu’s baoding balls and Flynn’s Bits (that sounded better in my head). Perhaps if Flynn had spent some time explaining the Second Law of Thermodynamics to Clu all of this could’ve been avoided. Alas, Clu’s not looking for a reconciliation and is tricked by Flynn into letting Quorra and Sam go, or at least ignore them, thinking Flynn has the portal key. As Quorra struggles to push Sam into the portal, Clu realizes the truth and tries to get to them, forcing Flynn to make the ultimate sacrifice to ensure the pair’s escape. It’s a beautiful scene all in all, again greatly enhanced by Daft Punk’s music, that recreates the poster of the original movie. The movie ends with Sam back in the real world, ready to take over his father’s company and change the world, aided by Bradley and the incomparable beauty that is Quorra.

Kiss her, you fool! I mean, I’m half-glad they didn’t kiss but this is Olivia Wilde we’re talking about! Allowances must be made.

From a technical standpoint, TRON: Legacy is a great movie in my book, combining amazing visuals with an outstanding soundtrack, though the use of CGI to rejuvenise Clu and a young Flynn is indeed noticeable and may be somewhat bothersome (though it didn’t bother me at the time). This technology has however, come a long way as we were able to see in Disney’s Rogue One or even in Guardians of the Galaxy, Vol. 2, so it’s not unlikely that a possible sequel could make use of the same, updated, technology, to bring back, say, a young Bruce Boxleitner as Tron (that would be awesome!). The story is perhaps more by the numbers (it certainly doesn’t tread new ground but why should it?) and it’s certainly not a character piece but I found it to be entertaining with a measured pace, carefully balancing the action with the more quiet scenes and executing both rather well. Nevertheless, if I had to come down hard on this movie for one thing and one thing only, it would have to be how underdeveloped the world feels. Beyond the Arena and Zeus’ night club, we don’t see a whole lot of how programs live on the Grid. Do they work? Do they have friends? Do they hang out? Are there (more) cities out there? The movie also hints at the possibility of some rebel movement forming against Clu but it’s pretty short-lived. These are all aspects that a sequel should definitely try to explore and, indeed, one eventually did.

Unfortunately, the year is 2018 and there’s currently no light at the end of the tunnel for a future TRON 3. It’s possible Disney dismissed its attempt to reboot the franchise as a failure considering the movie was only able to gross $400 million worldwide with a production budget of $170 million, and that’s not counting marketing expenses. Of course, if one considers Legacy was a sequel to a rather niche 1982 movie, maybe it didn’t do half as bad. Not having watched the original, I do believe Legacy managed to bring back some of the old cast of characters and do them justice, unlike a certain other franchise that shall not be named. It saddens me that Disney has apparently abandoned this property, and that the likelihood of seeing Olivia Wilde, Garrett Hedlund, Bruce Boxleitner, and why not Cillian Murphy as well (he was seriously underused in this movie), return for one last chapter seems like a pipe dream right now. Yet two years after the release of TRON: Legacy, Disney would give the franchise another chance to prove its worth with the release of the animated series, TRON: Uprising. Did it succeed at this? Stay tuned for Part 2 to find out. Why not watch TRON: Legacy in the meantime?

[dustedmagazine]

Godspeed You! Black Emperor – Luciferian Towers (Constellation)

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://godspeedyoublackemperor.bandcamp.com/album/luciferian-towers"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;quot;Luciferian Towers&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;quot; by Godspeed You! Black Emperor&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

There were those who didn’t run. There were those who got on so many drugs, turned the radio on, drew the curtains. There were those who clutched their babies. There were those who kissed in the last days. You know who they were; you saw their selfies, swiped left on their Tinder profiles, mined what big data you could to suss them out. You were living it; you’re living it now, these dead flag blues. 

Every day is a new nightmare from the top down accelerated by your Facebook or Twitter feed, by your friends turned enemies, by an inability to cope with it all. We weren’t built for this breadth of information intake; humans can’t possibly hope to keep up. But that hasn’t stopped many of us from trying to reverse a seemingly unalterable course of self-destruction, a course Godspeed You! Black Emperor first soundtracked more than two decades ago and which now seems to have come full circle on Luciferian Towers. This is its blessing; this is its curse.

I say “full circle” because we’re a safe distance from the Montreal collective’s 2010 reactivation tour and 2012 “comeback” album Allelujah! Don’t Bend! Ascend! ,which in hindsight feels increasingly like “Mladic” plus post-rock comfort food. As with most everything else, even 2015’s Asunder, Sweet and Other Distress also feels like a lifetime ago. Though “Mladic” was a live staple in the first run and Asunder’s “Piss Crowns Are Trebled” doesn’t sound out of place next to the heightened frustration of the Yanqui U.X.O. era, I still think of Cokemachineglow’s Allelujah critique for this pair of Obama-era records — namely that Godspeed’s “leftish, and that’s about it” appeal was also its biggest handicap: Here was a politically motivated group determined to ruin the Clintonian good times by pulling back the veil on capitalism’s long, labyrinthine arms and urging you to open your eyes to the power games afoot in politics’ high castles, but what exactly that meant was never clarified —  at least not until the first swansong on 2002’s Yanqui U.X.O., an (inaccurate) attempt to draw direct lines from arms dealers to record labels.

By George W. Bush’s second year in office, the problems were more readily outlined, easier to identify, harder to solve. Smartly, Godspeed quit while it was ahead just as those questions were overtaking its particular brand of vague paranoia. When Allelujah was released amid the 2012 election season’s peak, it felt good to have them back but a little off; Asunder felt further outmoded and unhelpful.

Luciferian Towers is at least as good as Allelujah and better than Asunder primarily because it hones in on clearer targets, which is what seems not just important but essential to political art now — threatening gestures no longer cut it unless you’re an internet-dwelling Chaos Muppet or alt-right supporter (and it’s a misty line between good and evil out there; consider who Blaise Bailey Finnegan III voted for in 2016). Even before you hear a single note, the band has outlined its “grand demands:” an end to foreign invasions and borders; the dismantling of the prison-industrial complex; healthcare, housing, food and water as inalienable human rights (and yes, one throwback of an empty threat for good measure: “the expert fuckers who broke this world never get to speak again”). These are more explicit than virtually anything previously outlined, though how we get from A to B isn’t a question I think its members will ever be equipped to answer. Even so, it feels like they’re thinking more concretely about issues than in the past.

And amid the panic of the moment, few are more equipped (or willing) to take a deep breath and force you to think through these troubles than Godspeed. It’s an interesting contrast to the mawkish movie scores of Explosions in the Sky or Mogwai’s apolitical Glaswegian smirr, and though the ammunition is familiar, the deployment is spot on. Befitting its context, Godspeed has matured into a band that works when the anger is directed.

Right, music: There’s some of that here, too. Eight songs, two of them three-piece suites, and some 44 minutes of well-balanced, orchestrally tinged post-rock the likes of which you’ve heard five full-lengths of before, to be precise. The ideas executed here aren’t in any way fresh, but rock music (especially) isn’t ripe for radical innovation as much as it is careful refinement. Every subgenre has a platonic ideal to work toward, and Luciferian Towers does that about as well as one can expect in 2017.

“Undoing a Luciferian Towers” opens with an ascending swirl of guitar squall, organ drone, Aidan Girt’s rolling cymbals, and Sophie Trudeau’s violin somewhere amid the mix. It transforms from scene-setting noise to a kind of queasy military march before dropping away into the first suite, “Bosses Hang” (formerly known as “Buildings”). During the course of its 15 minutes, it shifts from a classic-rock stoner jam in its first part to a kraut rock exercise in the second and third parts. Tightly executed, “Bosses Hang” is a trance of a section, the band achieving a sublime balance of tension and release.

“Fam/Famine” is another mostly ambient piece, a bridge to the second suite that is arguably Godspeed’s finest moment since its return, “Anthem for No State.” The bad first: The recorded version of what was formerly known as “Railroads” is not nearly as powerful as the 22-minute live version that’s been road-tested for the past two years. If you haven’t heard the live version, though, I think you’ll find this a minor quibble — the weeping violin and contemplative spaghetti western vibes of the first two parts remain a cannily planted final respite before the titanic exultation of the third. As with Yanqui U.X.O.’s lifted skinny middle finger to heaven in full, Luciferian Towers’ final 12 minutes are total catharsis. It’s an eye-opening reminder that the band can still be very, very good at what it does.

There’s been plenty of music this year that’s channeled political righteousness into emotional release — from Kendrick Lamar to Karen Gwyer, you’d be harder pressed to find music that wasn’t motivated in such a way, really. But Godspeed You! Black Emperor still has a place in this flattened landscape despite its familiarity, its flaws, its limitations. Luciferian Towers is testament to the group’s staying power, an unexpected but welcome declaration of defiance. The dead flag yet flies.

Patrick Masterson

[actaeoncross]

Eschatos: The Prologue

“The Mayan Calendar came to an end on the winter solstice.

The exact date of its end was December 21, 2012; the same as the aeon of man's greatest accomplishments. It is said that the day began the same as any other with people awakening to slight apprehension before laughing off the apocalypse hysteria. The world they knew ended later that day while people snuggled under warms covers and the weather outside grew frightful. Hail of a size unseen before or since battered into the earth, destroying everything it touched. Forests were torn apart, buildings demolished to rubble and governments quickly gave way to chaos.

It was then that the sun came into alignment with the center of the galaxy for the first time in twenty-six thousand years. Those who remained through the storm to witness the astronomical event were still to witness further destruction. The new alignment of the planets disrupted the gravitational energies setting the solar system's delicate balance awry. The earth was placed upon a new course that led to an ultimate and irreversible change as the star Wormwood collided into Earth with devastating results. Fire swept across the land on impact, a massive amount of land was pulverized and much of the world was quickly polluted. The sun was blocked by massive clouds of ash the fires bellowed into the skies and even after the sun peaked through once more it shone upon a new world. Entire continents had been destroyed leaving only a few surrounded by contaminated oceans.

Most of the world's population was lost by the time the sun shifted to the galaxy's center. Those who survived now faced challenges they could not have imagined previously. One of the most notable changes being the world wasn't as bright as it once was, in both spirit and the sun's rays. Some think this was because of chemicals released into the atmosphere or the results of Wormwood's collision. The dangerous toxins released decimated the people that remained. Regardless of the ordeals, survivors slowly came together and began the work of salvaging what they could from the world they had known. Many of the buildings that once stood proud now offered very little shelter for men and even less were considered safe enough to attempt entry. There was one skeleton reaching towards the sky, its shattered glass coating the ground that the survivors approached and it was here that life began anew.

The building was given the name Adlai and the first inhabitants set the framework for the new world. Slowly the gaping holes of Adlai were covered with planks and fabric while work began to recreate glass and other luxuries. The population slowly began to increase and as structures rose around Adlai scholars began keeping time and recording events once more. As mankind grew confident in the new world leaders stepped forward and religion began to gain power once more. Peace wasn't kept for very long after the original founders of Adlai passed away and neighbors turned upon each other. New generations spilled forth into the world and more wars followed, each had their reasons but many centered around land, power and religion. Decades passed before the Great Wars ceased and lands were established on the remaining continent.

It is now the year 2364 and this is nothing more than lectures teachers speak in class attempting to preserve the culture of a once great land. The church tells a different story however, one of a war between angels and demons which led to the events known as the Cleansing. When the Mayan calendar was said to end the church teaches us that a doorway to Hell was opened and demons flooded Earth to spread the chaos and destruction that is our history. The Earth of before had been evil which is why demons swept across the land so easily and the fires of Wormwood were necessary to cleanse the Earth for a new age to begin. They say the war will continue unless humans change their ways, but we are a flawed species doomed to fall into sin. The rise of the Branded has proven as much and those apart from the church can't even find a valid argument for their existence. The Branded, those marked either from dealings with demons or from Gates of Hell are said to be condemned souls. The strange markings alone might be explained away but the supernatural power each seem to possess cannot be so easily discarded.

Some nations attempt to use the Branded to bolster their strength, encouraging their soldiers to summon forth demons, while others are bent on exterminating the Branded from existence. The Church of Adlai leads the crusade with forces specially trained to identify Branded and dispose of them, without regard for where their mission may lead. The Church of Adlai trains all their clergy in ways to ward off demons but the elite soldiers called the Anathema are Adlai's glory. Anatheman Knights are trained to exterminate demons, casting them back into the hell from whence they came," the young boy finished his narrative breathlessly. He bravely attempted to keep the apprehension from showing as he faced down the two Anatheman Knights standing before him. Benjamin's father had been one of the greatest in their ranks. Until a year ago when he met his death in combat with one of the Branded. Benjamin refused to believe his father met death as simply as that. In just one more year he would be thirteen and able to enter training as a knight to begin the work of avenging his father.

"Not bad, sounds too much like a story though," a knight responded before moving past the child and into the orphanage. Benjamin frowned watching the men leave the front yard of the building where the unfortunate children were playing. He didn't belong here with them. His father had been the greatest Anatheman Knight to have ever lived. His son at least deserved better than some second-rate orphanage in the slums of Adlai.

"Told you they wouldn't take you."

Benjamin turned to glare at his nemesis. A young girl that was all odd angles with the long limbs she had yet to grow into. Black, unruly curls framed a freckled face that was situated with a smug smirk. Maxine, lovingly shortened to simply Max by the younger kids she played mother hen to among the orphans. The boyish name was nothing else compared to her other crimes.

"Filthy scum like you wouldn't understand the first thing about Adlai's Anatheman Knights," Benjamin retorted peering down his nose as best he could. It was a difficult feat to accomplish when the girl was as tall as he was. The words instantly brought a bright red splotch of anger to his opponent's cheeks. The other children hushed and drew closer, long since accustomed to the telltale signs of the two close to a fight. Max's eye twitched slightly and the muscles in her throat were working to keep the girl's temper contained.

"At least I was aware they wouldn't take you."

"I bet the Knights are here for you, they say the apple doesn't fall far from the tree. They already disposed of your sinful father, how long before they-"

Benjamin didn't get a chance to complete his sentence as Max closed in swinging a fist. With no regard for the fact she was a girl Benjamin instantly swung back. Unlike the girl he had been taught the basics from his father in the ways of fighting. Despite the disadvantage of proper training Max had lived far longer unsheltered. As soon as Benjamin managed to pin the girl down he found himself brutally yanked back. Father Christopher maintained a firm grip on Benjamin's arm as the boy regained his footing. Fixing Max and Benjamin with a sharp glare it took one glance up for the children to instantly disperse.

"I will see both of within my office after I see our guests off," his stern voice grated against their young ears. Benjamin only briefly glanced at the Knights before trudging silently alongside Max towards the doors. A year's worth of experience in fights with one another had taught the two punishments were easier managed when they made it to the Father's office without dissolving into another fight on the way there. Benjamin couldn't help but glance over at the disagreeable girl next to him as they walked. She had her head carried high, no doubt believing she was in the right. The thought bristled his nerves all the more and once within the office he made a point to maintain the absolute most distance possible from her. It wasn't too long before Father Christopher swept into the office, the door clicking shut behind him. Before the middle-aged man could sit both children were offering their stories. A hand raised along with an eyebrow as the priest took his seat behind his desk.

"I already know the basics of what happened and both of you will not have dinner this evening. Further punishment will be decided at a later time. Run along both of you," he dismissed them. Max was gone instantly though Benjamin remained. It was unlike Father Christopher to put such a thing off and if it wasn't for the Anatheman Knights' visit he would have run instantly like Max.

"What were the Knights here for? Priests that take over orphanages and schools abandon their position as informants for the Church."

"Priests never abandon their duty, Benjamin," Father Christopher gently chided the child. "They are simply in less of a position to speak with the adult population where Branded are more common. Children notice remarkable things elders fail to."

"You didn't answer my question," Benjamin stubbornly pointed out.

"No, I did not," Father Christopher frowned at the young boy. "You're a bright child Benjamin, why would you fight with another child so often?"

"Maxine's father was-"

"You should never hold the crimes and accomplishments of the parents to their children. Your actions were hardly befitting of you father's legacy. Maxine has been a great help and influence to the younger children since she arrived and knows her psalms better than even you," Father Christopher sharply answered. It wasn't until a tense child in front of him had the first tears attempting escape the priest seemed to soften. "Benjamin, your heart is in the right place but allow yourself some time to grow and experience life. Make decisions of your own before blindly following what others tell you."

Benjamin was gently ushered from the office and stood only momentarily against the closed door. What more could he do to live up to his father's legacy? That statement alone had shut the boy's mind down from hearing all else from the priest. Brooding to himself Benjamin headed to the boy's wing where he flung himself upon his bed. The bells signaling dinner were ringing but there was no need for him to appear there. Benjamin closed his eyes meaning to rest for only a moment. It wasn't until something slammed into his bed and on top of him that Benjamin realized he had fallen asleep. The moonlight from the window showed a young boy with tousled hair and glasses looked at him in a silent appeal. Shoving the other boy off, Benjamin sat up to notice the others had entered and were peacefully sleeping in their beds.

"I know why the Knights were here, want to see?" the kid with glasses called Ellis asked. "I was on cleaning duty and overheard them talking in Father Christopher's office."

Eagerly Benjamin hastily scrambled out of his bed and followed the younger child from their quarters into the hallways. Since his arrival at the orphanage Ellis had clung to his side and Benjamin enjoying the feeling had allowed the boy to follow him. Ellis had dreams of being an Anathema Knight as well. Benjamin knew he wouldn't make it, the child didn't meet any of the qualifications his father had drilled into Benjamin. It wasn't long before the two boys stood in front of a door. The wing had been closed and Father Christopher had given strict instructions against anyone entering. Trusting the Father's word of construction being done to the old building no one questioned him.

A frantic tug at his sleeve had Benjamin glancing down to Ellis. It was clear even in the dim light the younger boy was getting cold feet. Yanking his arm away Benjamin closed his hand around the cool metal of the door handle. It took only a slight turn and push to realize the door was locked. A disgusted sigh escaped Benjamin before he turned on Ellis.

"Did you bring the key?" Benjamin glared at the boy vigorously shaking his head. "You do know that lying is a sin and can make you a Branded?"

"I-is that t-t-true?" Ellis stammered out his face paling even more if such a thing was possible. A nod of Benjamin's head had the boy gulp down his fear. After quite a bit of shaking Ellis managed to retrieve the key from his pocket and hand over to Benjamin. A triumphant smile came across Benjamin's face. All he would need to do was take care of whatever was in the room and he would gain an instant place among the Knights. Benjamin flung the door open greedily stepping inside to observe the room. At first nothing caught his eye but then he saw it, there against the wall.

A dark spot on the wall easily the size of a man. Disappointed at first Benjamin was ready to rant at Ellis for wasting his time when the spot moved. The movement was so slight Benjamin wasn't sure he had seen it. Unthinkingly he stepped forward trying to get a better view and the spot begin to spin slowly. Benjamin continued moving closer as the spot gained a light from the other side of the wall. The light was flashing red hues and the movement of the now liquid spot was thick like the molasses Father ate with breakfast. Whispers slowly filled his ears and though he strained Benjamin couldn't make the words out.

"A hellhole," the astounded whisper escaped his lips into room.

"B-Benjamin, let's g-go. We s-shouldn't b-b-be here," the stuttering became worse as Ellis cautiously approached Benjamin's side. Ellis tugged as hard as he could on the other boy's arm in an attempt to move him towards the door. The effort was ineffective and succeeded only in Ellis being savagely shoved down. As he hit the floor Ellis looked up to see Benjamin turn to him a feral look on the older boy's face. Teeth chattering in fear, Ellis sat for only a moment before scrambling to his feet and fleeing the room.

The whispers became louder though remained unintelligible. He had to know what they were saying. Benjamin could leave the portal to hell after he discovered this. No conscious thought of self preservation crossed his mind as a hand reached forward into the hole. Instantly the taste and acidic smell of copper filled his senses. Everywhere, everything was red Benjamin couldn't see, taste, touch, or smell anything else of his surroundings. He could hear though and the screams were worse than the lack of vision. Stumbling back from the flow of viscous liquid against his legs bringing the feeling of nausea along with it. It wasn't until his feet slipped from under him and Benjamin landed with a splash he saw beyond the red. His eyes widened instantly as his shrill scream joined others.

The banging on his door woke Father Christopher and dreading his nightmares confirmed the man quickly moved from bed. His sudden appearance caught a pale Ellis off guard and he stumbled forward only slightly. The frantic Sister behind him began apologizing instantly saying the boy wouldn't share what he was so upset about. One glance down and Ellis's stuttered incomprehensible speech involving the out of bounds room had Father Christopher practically sprinting down the halls. He skidded to halt alongside Maxine who had tears silently streaming down her face. The young girl stood staring into the scorched and stained room until his hand landed on her shoulder.

"W-why did they take him Father?"

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[foxes-that-run]

Eyes Open

Eyes Open was the second song Taylor wrote for Hunger Games. Taylor wrote it from Katniss' perspective and said she reflected on how our society compares to that in the book. To me X-Factor was part inspiration for it.

Eyes Open has the best lyric video of all, and it is from 2012! The stop motion and stationary bringing a childlike quality to a song about anxiety and losing innocence for cruel competition. ‘Eyes’ only appears in green or black, there is one eyes on purple paper for Speak Now, Taylors then Era.

What Taylor Said

At the VH1 Storytellers event at Harvey Mudd, Taylor Introduced it by saying it was interesting to get into the mindset of a character and:

When I started writing this song I started kind of applying it to life. How we're all kind of pinned up against each other. In school, in society, in like whatever celebrity world whatever it is. Everyone is like pinned up against each other like it's this weird competition. And so I wrote this song kinda based on Katniss running through a forest being chased by people but also, you know, the kind of society that we live in compared to the society she lives in.

Timeline

Eyes Open was registered in 2012. It was recorded at Pain in the Art Studio in Nashville. I was likely recorded in the first 3 weeks of the year. Taylor was in Nashville 12 January, 2012 when she performed Safe and Sound at a Civil Wars concert. It would have been complete before 23 January when Taylor was back in London. Thank you @cntfightmydemonsthyknowhowtoswim for your mad time skills.

Live Performances and 17 March

Taylor has played it live only ever three times:

17 March 2012, 2nd last Speak Now concert. 3 days before album.

15 October 2012, the day after Taylor performed on X-Factor UK.

17 October 2012, at the VH1 Storytellers event where she gave the above introduction.

When Taylor introduced it on 17 March she said: "Eyes Open ... I can't wait for you to hear, I'm really excited about it. I mean you don’t think I’ll get in trouble if I played it now?" The soundtrack was not out yet.

Eyes Open (Taylors Version) was released in the More Chapters on 17 March, 2023. Exactly 11 years after Taylor first played it live. At the time, this seemed random, yes Eras, but they were 3 deep cut re-records and a Lover vault released at a seemingly odd time.

So why 17 March? On 17 March, 2011, Taylor first played the mash-up of Fearless and Trains' Soul Sister, in Paris. Soul Sister was Harry's X-Factor Audition song, Harry was in Europe and not seen for days around that show. Taylor was then in London on the 20th when Harry performed in the X-factor tour at the O2. Post about that here. Taylor also included 16 March 2011 in the Lover Journal which mention a 4th grade book report and career anxiety, relevant to this song.

X-factor inspiration

The parallel between X-Factor and Hunger Games is not difficult to draw. In fact in 2013 even Simon Cowell did. As have 2012 contestant Ella Henderson and 2009 contestant Olly Murs. The second time Taylor played Eye's Open was also the day after she performed on X-Factor UK, which, to me, hints at the similarity in this song.

In January 2012 X-Factor was a UK reality show, in their first US interviews One Direction kept explaining what it was. Yet Taylor was not only familiar, but related to it. Which, the 2011 timeline covers. It seems they were friendly at that time.

Lyrics

Everybody's waiting Everybody's watching Even when you're sleeping Keep your ey-eyes open

The first verse sets the tension in the song, everybody is waiting and watching to see what happens, both in the Hunger Games, talent shows and celebrities. Throughout the song, it goes without saying each verse applies to the book, so I will focus more on the celebrity and X-factor angle.

The tricky thing is yesterday we were just children Playing soldiers, just pretending Dreaming dreams with happy endings In backyards, winning battles with our wooden swords But now we've stepped into a cruel world Where everybody stands and keeps score Keep your eyes open

While this verse applies in the book, I think it is where the comparison to a society with X-factor is most apparent. This verse speaks of someone who has experienced the cruel and competitive world speaking to someone naive to it. Taylor was 6 years (1/4 of her life) past her first record deal. In January 2012 Harry was younger and only 13 months into his first record deal. She worked for years to reach the point Harry found himself in overnight and potentially not ready for it.

On December 28 and 29 2011 Taylor posted these three photos, one with her face at sunset on a western coast (or early sunrise in the east) captioned 'childhood beach memories revisited', one with snow on a beach & safe and sound lyrics. It's unclear where they were taken, Taylor was not seen for weeks, it did snow on the beach in Liverpool that year. The lyrics in this verse of Eyes Open indicate a childhood she considered over christmas juxtaposed to fame.

Everybody's waiting for you to break down Everybody's watching to see the fallout Even when you're sleeping, sleeping Keep your ey-eyes open Keep your ey-eyes open Keep your ey-eyes open

Taylor repeated eye's open as a warning and others watching in other songs:

Wonderland: "I should have slept with one eye open at night" and "But there were strangers watching and whispers turned to talking"

I Don’t Wanna Live Forever: "Been sitting eyes wide open behind these four walls, hoping you’ll call"

Safe And Sound: "Just close your eyes"

Mirrorball: "Drunk as they watch my shattered edges glisten"

I know places “It's a scene, and we're out here in plain sight / I can hear them whisper as we pass by”

Run: We can go where our eyes can take usGo where no one else is, run

So here you are, two steps ahead and staying on guard Every lesson forms a new scar They never thought you'd make it this far But turn around (turn around) Oh, they've surrounded you It's a showdown (showdown) And nobody comes to save you now But you've got something they don't Yeah, you've got something they don't You just gotta keep your eyes open

This verse applies equally to Katniss as it does celebrity.

In particular the 'make it this far' and scars is reminiscent of overnight fame from a tv show. On 23 November 2011 the One Direction: A Year in the Making special (25 minutes) was released where Harry cried as he spoke about searching for online hate and an uncomfortable obsession with his personal life.

Everybody's waiting for you to break down Everybody's watching to see the fallout Even when you're sleeping, sleeping Keep your ey-eyes open x3 Keep your feet ready Heartbeat steady Keep your eyes open Keep your aim locked The night goes dark Keep your lights open

The closing of the song continues the comparison, that in Katniss's world as it is in a show like X-Factor or celebrity where people are obsessed with the outcome, but also not necessarily the wellbeing of actual people (or characters in Katniss's case) involved.

Taylors parting words are to remain with their eyes open, aim locked and lights open. This is an interesting almost start to several years of a battle hardened Taylor, who wrote about weapons as defensive metaphors for years. This battle metaphor continued though 1989 and reputation.

I Know Places: Cause they got the cages, they got the boxes and guns

Call It What You Want: My castle crumbled overnight, I brought a knife to a gunfight

Only in Lover and Evermore, 7 and 8 years later did Taylor start to talk of setting aside this battle hardened persona.

Daylight: Threw out our cloaks and our daggers because it’s morning now, it’s brighter now, now.

Long story short: When I dropped my sword I threw it in the bushes and knocked on your door and we live in peace.

[guitxrist-blog]

BIO.

Taken from Gorillaz.wiki

in: Gorillaz Wiki Noodle

Name: Noodle Gender: Female Birthday: October 31, 1990 Sign: Scorpio Eye Color: Green (Phase 2) Black (Phase 3 onward)

Height 5’ 2" (1.57m) Years Active: 1998-2006, 2010-present Age: 26 (as of 2016) Noodle is the official lead guitarist of Gorillaz. Since the events of the El Mañana Incident, she had disappeared for approximately four years. During her absence, her position as the band’s guitarist was substituted by Cyborg Noodle, made by Murdoc from Noodle’s DNA to replace her in the Gorillaz.

Background

Noodle was born in Osaka, Japan on October 31, 1990.

Noodle spent a portion of her childhood in Japan as a subject of a classified Japanese super soldier project under the management of the Japanese scientist, Mr. Kyuzo.

Noodle, along with 22 other children, were trained with the sole purpose of fighting as soldiers of the Japanese military and government. After the children were deemed too dangerous and unstable for combat, the project was scrapped. Mr. Kyuzo was then ordered to dispose of all possible traces of the failed experiment, as well as its participants.

After killing the other 22 children, Kyuzo was reluctant in killing Noodle. Rather than killing her, Kyuzo placed her in a state of amnesia through use of verbal commands. The phrase used to place Noodle in her state of amnesia was known as Ocean Bacon. After temporarily clearing her memory of the project, Kyuzo smuggled Noodle to the United Kingdom in a FedEx crate and falsely reported her death (along with the other 22 children) to his superiors.

Noodle arrived at the doorstep of Kong Studios in 1998. Once the crate was taken inside, Noodle sprung out of the box and performed a guitar solo (which 2-D described as “200 demons screaming in Arabic. Brilliant!”). She ended her solo with a 20 foot high karate kick before bowing and saying the word “Noodle”. This resulted with her earning the name “Noodle” (her only currently known name), and replacing Paula Cracker as the band’s lead guitarist.

Gorillaz Phase 1: 2000-2001

Noodle at the age of 10. Noodle was about ten in this phase. She mainly played guitar, but also provided vocals for the Gorillaz, most notably the track “19-2000”. In numerous videos, idents and music videos alike, it became obvious that Noodle was talented at much more than just music. She is also proficient at martial arts. During this phase, she couldn’t speak English, except for a few phrases like “yeah” and “duh”. Post-Phase 1 to Pre-Phase 2: 2002-2004

After the band’s abrupt breakup, Noodle traveled back to Japan by herself to learn about her forgotten past. During her stay, she visited a sushi bar in Osaka where she heard a waiter tell the bar’s chef that he needed an order of “Ocean Bacon”. Upon hearing the phrase, Noodle simultaneously regained all memories of her previously concealed past (which included her ability to speak fluent English as well as every other known foreign language). After her sudden revelation, she returned to Kong Studios, which had fell into a state of disrepair during the bands’ absence. She also discovered that the studio had become infested with hordes of undead zombies. Using Kong’s security surveillance room as a “safe house”, Noodle slowly cleansed the complex of its unwanted inhabitants. During her stay at Kong Studios, Noodle laid out the concept plans for the 2005 album, Demon Days. After completely ridding the building of the zombies, Noodle embarked on a mission to reunite with her band mates.

Gorillaz Phase 2: 2004-2008

Noodle in her bunk at a capsule hotel during her stay in Japan. This phase featured the album Demon Days, written by Noodle herself (now fifteen), which contained the song “DARE”, the first song featuring Noodle doing almost everything, including instrumentals and singing.

At the end of this phase, Noodle was considering leaving the band for a while, so she planned to leave after filming the final music video, “El Mañana”. During the filming of the video, Noodle parachuted off the floating island from the “Feel Good Inc.” video after it was gunned down by two armoured helicopters. When filming was complete, Noodle had disappeared; causing panic across the set and everyone on it, except for Murdoc. Her used parachute was found amongst the wreckage of the crash site. This caused many to believe for a while that Noodle had been killed off. These rumors of Noodle’s supposed death were finally laid to rest, as Murdoc assured everyone that she survived, and they had staged the crash to get rid of Jimmy Manson, who had hid away in the windmill, thinking he was part of a plot to get rid of Noodle and take her place with the parachute. Murdoc claimed, in the Gorillaz book Rise of the Ogre, that Noodle was “off in the Maldives, just chilling out”. However, in the epilogue of the book, a transcript of a radio broadcast from Noodle is printed out.

Another similar radio broadcast could be heard in the basement of Kong Studios on the official Gorillaz website.

Murdoc later “confessed” that Noodle was stuck in hell, but he had allegedly saved her. He was drunk at the time, so it is unknown if what he said was true or not.

Gorillaz Phase 3: 2010-2012

Noodle as she appears in Phase 3. Four years after her disappearance, Noodle embarked on her journey to reunite with her former band mates. She was formally seen last in the On Melancholy Hill video, sporting a cat mask on board a cruise liner known as the M. Harriet. During the voyage, a crew member notified her that the ship was being attacked by pirates and that he was sent to escort her to the ship’s lifeboats. Without speaking, Noodle opened her luggage and armed herself with a Thompson submachine gun. It is assumed that she is seeking revenge for being marked dead by Murdoc. After shooting down one of the two pirate fighter planes, Noodle was forced to abandon the M. Harriet which was sunk by a dive bomb torpedo released by the second plane. She is later seen in a life boat being lifted out of the water atop Russel Hobbs’ head, who is currently in a noticeably larger physical state than usual. [1]In the canceled Rhinestone Eyes video, she and Russel make it to Plastic Beach. Later on, after the Black Clouds destroy Plastic Beach, Cyborg Noodle malfunctions and attempts to kill Murdoc, but is destroyed by Noodle. She and Russel rescued 2-D after he got swallowed by the whale and the three of them began to track Murdoc after he faked getting killed by the Black Clouds and escaped to Hawaii where he began his radio shows celebrating Gorillaz’ Ten Year anniversary. It turns out “Hawaii” was just a ransacked house in London, and the room he was in had a Hawaii theme to it complete with sound effects. It is unknown what happened to Murdoc when they found him.

Noodle later makes a brief appearance in the music video, “DoYaThing”, as 2-D looks into her room. Most of her facial injuries seemed to have healed since the events of Plastic Beach. However, the house they are staying in (212 Wobble Street) is suffering foreclosure; what happens next is uncertain.

Gorillaz Phase 4: 2016-

Days after the attack on Plastic Beach, Noodle awoke in a strange Japanese fishing village. She was nursed back to health by an old pearl diver named Chiyoko, so Noodle took a job as her apprentice to repay her kindness.

Gorillaz - The Book of Noodle (Full) One day, deep beneath the waves, she opened a unnaturally big pearl shell, and accidentally released an ancient demon from hell. Noodle learned this was Mazuu, a shape-shifting devil that could take human form. The only way to destroy it was to remove its head from its body. And so, for years, Noodle pursued Mazuu across Japan. Finally, she had tracked it down to Tokyo, where it had risen to the top of the criminal underworld.

Disguised as a geisha, she infiltrated their headquarters, The Demon’s Lounge. While Mazuu was distracted, she chopped off its head. Its earthly existence was over.

Escaping Mazuu’s sumo bodyguards, she packed herself into a box with dried fish, bottled water, and a copy of Moby Dick. Her package was addressed:

West London, England - c/o Murdoc Niccals